MAG App Object Scripts: Art by Culture Or Date - Descriptions 10/14/11 1

MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 1

American Art: 20th Century American Art Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor.

Ancient Middle Eastern Art At the Crossroads See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia.

Chinese Art Arts of Asia See a selection of traditional artworks produced by artists working over centuries of different dynasties and influences in ancient and medieval China.

Egyptian Art Berkeley Gallery of Ancient Art Explore the decorative and functional works of art produced for daily, ceremonial, and funerary purposes in ancient Egypt.

The Helen H. Berkeley Gallery is made possible by Helen H. Berkeley, with additional support from the National Endowment for the Arts and public funding secured by New York State Senator Joseph E. Robach.

Etruscan Art The Helen H. Berkeley Gallery of Ancient Art See a selection of artworks representing the unique characteristics of the Etruscan civilization of ancient Italy.

European Art: 19th Century European Art Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor.

MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 2

European Medieval Art European Art The period from about 1100 to 1400 in Europe is known as the Medieval Period, or the Middle Ages. Previously thought of as a "dark age" of lost knowledge, disease, and warfare, the period is now recognized for its own remarkable and distinctive arts, many supported by the Catholic church.

Greek Art Berkeley Gallery of Ancient Art Explore a selection of artworks representing the beginnings and the legacy of the ancient Greek civilization.

Indian & SE Asian Art Arts of Asia Selected works of art from India, Thailand, Indonesia, and Cambodia represent diverse yet related traditions, influences, and beliefs.

Islamic Art At the Crossroads Explore a selection of decorative and functional ceramics, Medieval manuscripts, and ritual objects representing the spread of the Islamic faith and its art forms through the Middle East, Central Asia, and North Africa.

Italian Renaissance Art European Art The period from about 1400 to 1600 in Italy is now known as the Renaissance. It featured a flowering of culture and art that looked back on the classical arts of Rome and Greece.

Japanese Art Arts of Asia View a small selection of artworks made in Japan between the 1500s and the late 1800s, a period of cultural flowering and sharing known as the Edo Period.

MAG App Object Scripts: Art By Culture or Date - Descriptions 10/14/11 3

Northern Renaissance Art European Art During the period from about 1400 to 1600 in northern Europe, especially Germany, France, and the Low Countries (modern Netherlands and Belgium), the arts incorporated influences brought north from Italy, yet retained features unique to Northern arts.

Roman Art Berkeley Gallery of Ancient Art See a variety of material objects and works of art representing the civilization of ancient Rome and its reach across the ancient world

MAG App Object Scripts: American 20th C 8/26/11 1

American Art of the 20th Century

Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor.

Memory William Ordway Partridge (American , 1861 - 1930) , 1914 Gift of Mrs. James Sibley Watson, 13.12 Cloaked, hooded, and over life size, Memory A Fitting Tribute A View from MAG’s Past quietly dominates the space of the Foyer. She Commissioned by Emily Sibley Watson, the In this historic photograph, Memory stands on the cradles a large urn in her arms, a funerary founder of the Memorial Art Gallery, Memory is back wall of the current Renaissance gallery. She reference from ancient art. Her downcast a tribute to her deceased son James G. Averell. presides over a sculpture display that includes "casts features, shaded by her hood, give Memory a The statue was one of the first works of art to in plaster of the most beautiful pieces of ancient sad yet dignified appearance that fits her role: enter the Gallery’s permanent collection when it sculpture,” a replica collection no longer seen in the personification of a mother’s grief. opened to the public in 1913. modern museums. very limited space here!!!

Image = zoom view of Statue Image = The Hall of Casts, ca. 1914

About the Artist: Who was James Averell? William Ordway Partridge James George (“J.G.”) Averell was the son of William Ordway Partridge ranks as one of Gallery founder Emily Sibley Watson and her America’s most prominent sculptors of the first husband. Averell studied architecture at early 1900s. Harvard, as well as on travels in Europe. His career was tragically short-lived, as he died of Born in Paris to American parents, he studied typhoid fever at age 27. art there, as well as in Florence and Rome. He became best known for monumental public Image = Portrait of James G. Averell, sculptures of literary and historical figures such base of Memory, 13.13 as Shakespeare and Ulysses S. Grant.

MAG App Object Scripts: Anc Mid East + AAC 8/29/11 1

Ancient Middle Eastern Art

See selected artworks produced up to 4,000 years ago by artists and artisans from the earliest societies of the Middle East and western Asia.

Cuneiform Tablet with Case Sumerian, Ur III (ca. ca. 2094 - 2047 BCE), 2049 BCE Gift of Mr. Gordon Thompson in memory of his father, William G. Thompson, D.D., a student of Babylonian archaeology, 54.58.4.1-2 Translation from Sumerian: Receipt Required? Look carefully; this tiny clay object is easy to "[A number of] royal gurs of barley (gur = This small, rather plain-looking clay object is actually a miss, at just about 1½ inches square! about a bushel), received from Ebagar of the 4,000 year old receipt proving payment of taxes. town of Bazi; recorded by the scribe Lubimu, • Notice the impressions left in the clay of the The dots, lines, and wedge shapes on this 4,000 son of Urigalim, in the month of the barley "envelope" by the cuneiform writing on the inner year old clay tablet are an example of cuneiform harvest, the year that the city of Urbillum was tablet. (say coo-NAY-ih-form), some of the world’s devastated [by King Shulgi’s army]." • The message, or in this case a receipt for taxes paid, earliest writing. The records of entire Middle was inscribed into the still-damp clay of this tablet. Eastern civilizations, from government accounts • When the small clay tablet with its inscribed message and business transactions to literary works and was dry, a second layer of damp clay was fitted around personal correspondence, were written on millions it, forming a primitive "security envelope." The of ancient clay tablets. message was inscribed on the outer “envelope” as well, and dried. If the inner and outer messages did not match, it proved that someone had tampered with the information. • These red ink numbers are a later addition to the object. They are accession numbers, added by the Gallery to identify and keep track of the object in collection records.

MAG App Object Scripts: Anc Mid East + AAC 8/29/11 2

Worshipper Bearing an Animal Offering Mesopotamian, possibly Old Babylonian, ca. 1900 -1500 BCE R.T. Miller Fund, 45.60 The man shown on this tiny molded clay plaque Object of Devotion wears the fringed garment, round cap, and long Worshippers in many cultures hoped to assure their curled beard typically worn by men in the ancient gods' favor by presenting offerings, including choice Babylonian culture. He cradles a small goat animals, fine foods, and token objects known as intended as a gift to the temple of one of his gods, votives. This clay plaque may have served as a to be sacrificed or added to the flocks maintained votive to a god, as well as "proof" of the ritual by the priests. performance and its accompanying gift.

Image = zoom Tribute Bearer Achaemenid Persian; Made in Persepolis, ca. 650 – 330 BCE R.T. Miller Fund, 44.1 This man from the land of the Medes (say Celebrating the New Year Palace Processions MEEDS), now in northern Iran, wears a typical The covered vessel carried by this palace servant This relief figure was originally situated on a Median horseman’s costume: fitted coat, trousers, likely holds some delicacy intended for the king’s stairway, in a grouping very similar to this example and soft felt helmet. He once joined the hundreds banquet table. still in place in the palace complex at Persepolis. of carved, brightly painted figures representing servants, nobles, and foreign dignitaries, marching Dignitaries, nobles, and foreign rulers descended on Image = From the Palace of Xerxes; western along ceremonial staircases at the ancient Persian Persepolis in March as guests of the king to stairway, east face of the parapet, northern flight. capital of Persepolis (say per-SEH-poh-liss). celebrate Nowruz (say noh-ROOSS), the Persian New Year. They also appear carved onto the walls of Persepolis, wearing their distinctive costumes, bringing gifts, and representing the diverse cultures + Video views of Persepolis??? integrated in the Persian Empire.

Image = detail of vessel

MAG App Object Scripts: Anc Mid East + AAC 8/29/11 3

Harness Ornament with Two Ibexes Chinese; Mongolian, Ordos Culture (2nd – 1st centuries BCE) Marion Stratton Gould Fund, 73.66 Though small in size, this 2,000 year old horse- A Human Connection The Important Ibex harness ornament is a sign of prosperity and social Look carefully; notice the imperfections, where The animals featured on this plaque are two ibexes status. The lace-like design of floral or star shapes melted bronze over-ran the mold edges in some (say EYE-behks-ehs), large antelope-like mountain in the background echoes the curved horns and places, but did not fill the mold entirely in other goats. The Mid Asian Ibex, with its huge curved, haunches of the two ibexes (say EYE-behks-ehs) place. These signs of human error add to the value ridged horns, appeared commonly in the arts of the that face each other at the center. Cast in bronze of the object by creating a human connection with a nomadic herdsmen that roamed the mountains of and then covered with glittering gold, it represents long-gone artist. western and northern Asia. the portable and useful forms of wealth prized by the horsemen of the Ordos region in northwestern Image = zoom view Image = Ibex (animal) China.

Belt Clasp with Horse and Goat Georgian; From Transcaucasia, 1 – 200 CE Gift of Henry Hirschland, 2007.34 Cast from a carved mold, this large belt clasp is Animated Arrangement characteristic of the region known as Several animals crowd into the small central space of this ornamental belt buckle. The animals all represent Transcaucasia (say TRANS-kaw-KAY-zee-ah), creatures that the Caucasian people encountered daily, but the arrangement and interactions suggest a between the Caspian and Black Seas. This clasp mythical or fantastic meaning. and the animals on it reflect social status, wealth, • A horse with greatly exaggerated, possibly tattooed, haunches stands facing right. Its mane and tail feature and everyday animal life for the nomadic people a braided or coiled pattern. that roamed the modern Republic of Georgia • The horse’s thick arched neck supports a tiny head and a flowing mane. 1,800 years ago. • A large bird, facing forward with relaxed wings, shelters under the body of the horse. • A curly-horned goat rests on the horse’s back, its tail flipped up over its head. • A small dog stands on its hind legs to reach up to the horse’s nose. • The “grained” pattern and large “nail studs” in the corners give the illusion of this plaque being framed in wood and nailed to a larger support.

Horse Bit with Cheekpieces in the Form of Winged Human-headed Bulls Iranian; Made in Luristan, 1100 –700 BCE R.T. Miller Fund, 48.39

MAG App Object Scripts: Anc Mid East + AAC 8/29/11 4

For mountain dwellers on the move, a useful Useful in Life and Death Composite Creature hot-spots bronze horse bit also displayed wealth and status. In an ancient Luristan grave, a horse bit like this Many cultures of the ancient Middle East created The ancient nomadic cultures of the region known would be buried under the head of the deceased. artworks that feature composite creatures: as Luristan (say LUR-iss-tan) traded their animal- Signs of wear show that horse harness pieces imaginary beasts made from many different parts of based goods to the more settled cultures to the included as grave goods were actually used, rather real animals. How many can you count on this west in exchange for bronze. They created small, than new ones made just for burial. cheekpiece? portable bronze masterpieces, worn by humans • Muscular body with long legs; probably that of a and animals alike, which often incorporated real Image = Zoom bull. and fantastic animal forms. • Long, thin tail ending in a tuft; perhaps that of a What is Luristan? bull, or maybe a lion. The mountainous region of western Iran is known as Luristan (say LUR-iss-tan), which means the “Land • Large feathery wings, like those of an eagle. of the Lurs.” • Four hoofed feet, like those of a bull or cow. • Human-like face, with large eyes and smiling Over thousands of years, the valleys and hillsides of the Zagros Mountains have been home to nomadic mouth. herding people. In the summer, they followed their horses, sheep, goats, or cows into the rich grazing • Four large "curls," two on each side of the head. lands of the mountains. In winter, people and herds came together in the more sheltered valleys to trade Are they curly horns, curly hair, or large ears? goods, exchange news, arrange marriages, and work bronze into object both useful and decorative.

Image = mountain/valley view Master of Animals Finial Iranian; Made in Luristan, 799 - 700 BCE Gift of Henry Hirschland, 2007.35 This finial, or decorative pole-top, depicts a Finial Figures What is Luristan? central human figure overpowering a fantastical, Finials are just one example of the bronze objects From above… multi-headed beast by grasping one neck in each created by the ancient nomadic herding cultures of hand. Known as the Master of Animals, the Luristan (say LUR-iss-tan). In Luristan image reflects the conflict between humans and bronzework, human and animal figures often have the natural world, and appears frequently in the necks, limbs, and other features elongated and arts of many ancient Middle Eastern cultures. exaggerated for decorative effect.

Image = Zoom

MAG App Object Scripts: Anc Mid East + AAC 8/29/11 5

Tyche, Patron Deity of a Municipality Roman, Imperial Period, 1 - 200 CE R.T. Miller Fund, 49.73 This white marble head is all that remains of a Crowned by a City Tyche of Antioch near life-size statue of Tyche (say TIE-kee) , the Tyche’s mural crown (say MYUR-ahl), shaped like About 2,300 years ago, the city of Antioch, in Greek goddess of fortune and destiny. Although the walls and arched gateways of a city, is one of modern Syria, became famous for its huge, now-lost Tyche was a Greek goddess, this statue was likely her main attributes, or identifying symbols. As the bronze statue of Tyche. That statue inspired many created during the early Roman period as a copy guardian goddess of a city, she stood for the success small copies, including this 3-foot-high Roman of a much older Greek statue. The Romans called and prosperity of that city and its inhabitants. marble statue and perhaps our Tyche as well. their own goddess of destiny “Fortuna,” the source of our word fortune. Image = Side view looking Right Image = Tyche of Antioch. Roman marble copy after Greek bronze original. Vatican Museum, Rome Mosaic Floor Panel with Head of Tethys Roman; Made in Antioch, Syria, 200 - 300 CE University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 42.2 This decorative mosaic segment is an 1,800 year Buried by Time Who was Tethys? old floor fragment, once part of a large Roman For centuries, the “Tethys Mosaic” lay buried under The water goddess Tethys (say TEH-thiss) was wife villa, or upper class home. Natural stones in the soil of an orchard. It took years for an to the sea god Oceanus and mother of “all the white, black, red, and yellow create a geometric archaeological team of eight different institutions to streams and rivers of the world.” pattern which frames the head and shoulders of uncover the extensive ruins of this Roman villa and the water goddess Tethys (say TEH-thiss). The the rest of its ancient suburban neighborhood. Tethys was a Greek goddess, honored by the city of mosaic originally extended on each side to form a Antioch even after it became a Roman provincial hallway, with the outlined image of Tethys Image = The "Tethys Mosaic," appears at the center capital. Archaeologists working at the site of the marking a doorway. of this 1939 excavation photo. ancient seaport and river city found many images of Tethys. In some she appears as she does here, crowned with wings as a sign of her divine status. In other images she is crowned with crab claws, or shown with her husband Oceanus, fishes, and other symbols of the sea.

Image = detail of Tethys

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How was it Made? Mosaic Mastery Like an ancient form of digital pixilation, small pieces called tesserae (say TESS-er-ah) come together to create this decorative and durable Roman floor.

A master craftsman was responsible for the overall design and project. Groups of apprentices and lower- level artisans placed the larger cut-stone tesserae in areas of wet cement-like material, forming the geometric patterns on the side panels. The master himself executed the main design, creating the face of Tethys out of a variety of much smaller and irregularly-shaped tesserae in order to achieve more subtle coloring and three-dimensional shading.

Image = CLOSEUP detail of tesserae

Protome “TOUR STOP” Greek; Probably made in Boeotia, ca. 450 - 425 BCE June Alexander Memorial Fund and Tribute Fund, 88.5 Many of the details on this clay protome (say Painted Persephone? proh-TOHM) appear in low relief, a shallow three- Lost painted details on this female image likely dimensional effect created from a mold. Notice included a flower held in her right hand. If the artist her thick wavy hair parted in the middle, her intended this protome to represent the goddess delicate face, and her arms and hands. Her veil’s Persephone (say per-SEH-foh-nee), youthful queen decorative border and the neck of her tunic still of the underworld, the flower might have been a preserve their painted details. She may represent a poppy, symbolic of the eternal sleep of death. worshipper, honoring a god or goddess at a temple, or the image of a goddess herself. Image = zoom view

MAG App Object Scripts: Arts of Asia 11/28/11 1

Chinese Art

See a selection of traditional artworks produced by artists working over centuries of different dynasties and influences in ancient and medieval China.

Funerary Urn Chinese, Middle Neolithic Period, Gansu Yangshao Culture, Banshan Phase (ca. 2700—2000 BCE) Maurice R. and Maxine B. Forman Fund, 99.56 Never used in life, this elegant clay urn is an example Simple yet Elegant hot-spots How was it made? of a ming-qi (say ming-chee) object, created to This 4,000 year old Chinese pottery vessel Coiled Clay Creation accompany the dead in the grave. People living along features a simple but elegant design. The Huang He River supplied a reliable source the Huang He River (say hwahng-HEH) in China • The natural reddish brown clay of the vessel of fine riverbank clay for an ancient Chinese filled these vessels with offerings of millet or rice and serves as the background for the design. potter, who formed this urn by the coil placed them in the graves of loved ones as food for the • The interwoven linear decoration, created technique. afterlife. with black and red pigments, was applied By rolling long, thin “snakes” of clay and with brushes. circling them on top of each other, the potter • The wavy "saw-tooth" line is typically found built up the sides of the pot. The inner and Best Side Up on pottery made by this early Chinese outer surfaces were smoothed using a flat The painted geometric patterns on this urn appear only culture. paddle of stone or wood. Handmade brushes of around the top half. The bottom half was left • A pair of small loop handles is attached low various sizes allowed the artist to add decorative unpainted, as the urn was half-buried in the ground at down on the body of the vessel. details with “paint” made from watered-down the grave. The ancient Chinese believed that this • The lower half of the vessel’s body was left clay, or slip, mixed with red and black mineral allowed the deceased’s spirit easier access to the food plain and undecorated. colors. offerings inside.

Image = Funerary Urn, view from above

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Tomb Tile Chinese, Eastern Han Dynasty (ca. 25 - 220 CE) Gift of C.T. Loo, 42.16 The stamped animal designs and border patterns on Beauty on a Budget A Chinese Tomb this large clay tile added interest and beauty to the The wealthier, upper-class members of this Similar clay tiles line the inside of this ancient inside of an ancient Chinese burial chamber. More early Chinese society could afford tombs lined Chinese tomb chamber. Look carefully – do you importantly, the animals served as guardians for with expensive stone tiles, carved and painted see any stamped figures that resemble the ones on spiritual protection in the grave and beyond to the in exotic colors. Those with more limited MAG’s tile? afterlife. finances had to settle for the less expensive alternative: large clay tiles with stamped Image = A tomb chamber of Luoyang, designs. built during the Eastern Han Dynasty (25–220 CE), with stamped wall decorations. Image = zoom view

How was it made? Symbolic Safeguards hot-spots Good impressions Learn more about the creatures depicted on this ancient tomb tile, and their mythical role as powerful Ancient Chinese clay tile workshops maintained a guardians of the tomb. stock of large, flat wooden stamps carved into the • The Chinese tiger, a dominant predator in the natural world, served as an impressive tomb guardian shapes of animals, people, trees, and objects of daily for the dead. life, as well as a variety of decorative border patterns. • Although based on real horses from western Asia, these tian-ma (say tee-ahn-mah), or "heavenly horses," have wings to symbolize their ability to carry the soul to heaven. They used these stamps to create designs or scenes, • The fenghuang (say feng-hwahng), sometimes called the Chinese phoenix, is a mythical bird that pressing them into the tile while the clay was still symbolizes purity, grace, and faithfulness. damp. When the tile was dry, red and white pigments rubbed into the impressions added a dash of color to tomb decoration.

Image = detail view, Horse and Phoenix

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Ceremonial Food Vessel (Gui) Chinese, Western Zhou Dynasty (1027—771 BCE), 1099 – 975 BCE R.T. Miller Fund, 42.15 Spell it G-U-I, but say it KWAY! Ancestral Assistance Handle this Animal Decorated with real and mythical animal symbols like A noble family might use a gui like this to On gui vessels like this, created over 2,500 years dragons and birds, this impressive bronze food present food offerings to their ancestors, or ago during China's Western Zhou dynasty, the container had ceremonial and material value in ancient deceased relatives from previous generations. sturdy handles often featured animal motifs such as Chinese society. Large bronze vessels became part of Living family members hoped that the ears, snouts, teeth, and tails. What type of animal elaborate rituals of power and privilege, given as royal ancestors, pleased by generous offerings, does this handle remind you of? gifts and preserved as aristocratic family heirlooms. would watch over the family and bring good fortune. Image = handle detail

Image = Gui, side view Horse Chinese, Tang Dynasty (618 - 907 CE) Gift of James Sibley Watson, 30.26 This impressively large Chinese ceramic horse still Superior Steeds Three Colors in One wears its colorful harness and saddle. It served as a These "heavenly horses" still survive today as Chinese potters working almost 1,500 years ago ming-qi (say ming-chee), or tomb figure, created to the rare breed known as Akhal Teke. created sancai (say san-KY) glazes, Chinese for accompany the dead. Like other examples of Chinese “three colors.” During the Han Dynasty (206 BCE –220 CE), horse figurines, it represents not the small ponies the armies of the great Emperor Wu-ti The rich, shining green, blue, and brown colors on native to northern China, but the prized long-legged, expanded Chinese control westward into the horse’s saddle and harness represent a Tang powerful horse of Central Asia. Central Asia. In 101 BCE, his armies Dynasty innovation in Chinese pottery. The potters

conquered the valley of Ferghana, now in added minerals to clear glass-like overpaints applied

modern Uzbekistan, and took as their prize to the surface of the finished clay piece. The high

3,000 of their extraordinary horses. temperatures of the pottery kiln released the deep Living Legends colors created the drip-effect on the surface of the Admired for their size, strength, and endurance, this Additional horses came east to China along figure. breed of real Central Asian horses gained a legendary the trade routes, exchanged for Chinese spices,

identity as tian-ma (say tee-ahn-mah), or “heavenly grain, and other goods, but especially silk. Image = close-up of saddle horses.” Credited with supernatural speed and Horse ownership was limited, by law as well as stamina, they were believed to carry the souls of the price, to the emperor and nobles, who valued dead up to the heavens. these horses for sporting, hunting, and military use. Image = alt view of Horse Image = Akhal Teke horse MAG App Object Scripts: Arts of Asia 11/28/11 4

Female Court Musicians Chinese, Tang Dynasty (618 - 907 CE) Gift of James Sibley Watson, 31.2

Despite a few missing instruments, these young ladies represent a troupe of musicians from the Chinese royal court. They are fashionably dressed, their hair swept up into two hoops, with the round faces, large eyes, and tiny mouths popular in Tang Dynasty ceramic figures. Afterlife Entertainment Explore the Instrument s This musician plays the panpipes, ten bamboo Representing a pleasure enjoyed in life, the musicians Explore each of the traditional Chinese tubes of varied length connected in a flat "wing" are examples of ming-qi (say ming-chee), objects instruments "played" (in clay versions) by this shape. By blowing across the top holes, the panpipes produce a variety of different notes.. created specifically for the tomb. Clay tomb figures of group of musicians. dancers, house servants, and other workers accompanied the wealthy to ensure their comfort in In Chinese, panpipes are called paixiao (say pie- shee-ow). the afterlife.

Image = whole group (31.2.1 ) Although her instrument is lost, this musician's The pose of her hands indicates that this This musician's hands, made into fists and held unusual pose, with head turned to one side, and the musician once held a type of wooden flute, chest-high, once held a pair of small cymbals, position of her hands, hint that she may once have played vertically like a recorder with finger holes often fashioned of copper. played a horizontal flute carved of bamboo. and a notched mouthpiece. In Chinese, these cymbals are called tongbo (say In Chinese, the horizontal flute is called a di (say In Chinese, this type of vertical flute is called a tong-BOH). DEE) or dizi (say DEE-ZEE). xiao (say shee-OW). (31.2.4) (31.2.2) (31.2.3)

This musician's missing instrument may have been a This musician plays a very ancient instrument The pear-shaped string instrument played by this small type of harp, held vertically by the frame with which resembles a small pipe organ; she blows musician has a long neck and four silk strings. It one hand while the other plucked the strings. through a reed mouthpiece into a base holding is played by plucking the strings with a thin multiple bamboo pipes. triangular pick, known as a plectrum. In Chinese, this harp is called a konghou (say kong- In Chinese, this instrument is called a sheng. HOE). In Chinese, this is a type of lute is called a pipa (31.2.6) (say PEA-pah). (31.2.5) (31.2.7)

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Camel “TOUR STOP ” Chinese, Tang Dynasty (618 - 907 CE), 700 – 750 CE Gift of James Sibley Watson, 31.14 This two-humped camel figurine, embellished with Beasts of Burden Essential but Endangered decorative sancai (say san-KY), or three-color Tang Dynasty rulers maintained huge herds of For thousands of years, Bactrian camels have glazing, represents a Bactrian camel of far northwest Bactrian camels to carry rich trade goods between supplied people with milk, meat, and fur, as well China. During the Tang Dynasty, camels were east and west along the Silk Road. Perhaps a as their carrying capacity. Today over 2 million second in popularity only to horses as ming-qi (say nobleman who gained great wealth from the trade Bactrian camels live on farms and in herds ming-chee) figures, made to accompany the dead into routes chose a camel figurine for his tomb as a worldwide. However, they are highly endangered the tomb. These funerary camels sometimes came in symbol of his success. in the wild, numbering less than 1,000 in their pairs; one carrying a load of goods, the other not. original homelands. Image = Alt view Image = Bactrian camel (Camelus bactrianus)

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Indian & SE Asian Art

Selected works of art from India, Thailand, Indonesia, and Cambodia represent diverse yet related traditions, influences, and beliefs. Head of a Buddha Thai, Ayudhya Period (1350 - 1757) Gift of James Sibley Watson, 30.33 The serene expression, placid smile, elongated “The Enlightened One” Who was the Buddha? earlobes, and hair top-knot of this bronze statue head Images of the Buddha usually include several A Hindu prince named Siddartha Gautama (say all identify it as an image of the Buddha (say BOO- attributes, or characteristics that identify him. sih-DARTH-ah gow-TAH-mah) was born heir to a dah), “The Enlightened One.” This head was once Many of these refer to his story of becoming "The wealthy kingdom about 2,500 years ago. part of a full-length statue of the Buddha, likely Enlightened One." His father tried to protect him from all the bad seated cross-legged in deep meditation. • His shaved head is covered, not with ringlets of aspects of life, but one day Siddartha escaped from hair, but with the curled-up bodies of snails! the palace and roamed the streets of the city. He Read the story of these snails on another screen. encountered poverty, hunger, disease, and death for • Although it is not visible on this statue head, the first time. Being Hindu, Siddartha believed that images of the Buddha often include the urna (say life was an unending cycle of birth, death, and OOR-nah), or "third eye," of increased rebirth. He became so sad at this knowledge of understanding. life’s suffering that he gave up his wealth and • His eyes are closed or cast down, looking inward position in order to study and meditate, trying to and avoiding worldly distractions. discover an escape from this cycle. • His earlobes are extremely elongated, stretched by the heavy earrings he wore in his princely After many years, he achieved this “ultimate youth. understanding,” or nirvana (say nur-VAH-nah) • Although it looks like a hairdo, the top of his and became the Buddha, “The Enlightened One.” head is actually enlarged with enlightenment, the achievement of ultimate understanding. This trait is called the ushnisha (say oo-SHEESH-nah).

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Attributes of the Buddha hot-spots A Story of Selfless Snails The Buddha and his followers appear in art with various attributes; special clothing, objects, or other traits Buddha and the 108 Snail Martyrs that identify them. How many of these attributes appear on MAG's Buddhist works of art? Buddha’s head looks like it is covered with tiny • The ushnisha (say oo-SHEESH-nah) looks like a top-knot hairdo. Actually, it represents a swelling of ringlets of hair, but they are actually the curled-up the top of the head caused by the achievement of ultimate understanding, as if the head cannot hold so bodies of snails. much knowledge. According to the story, • This seated crossed-leg pose, known as the lotus position, is commonly used to convey calm and Buddha was deep in meditation one day, sitting on relaxation. the ground for hours in the hot sun. He was so • The mudras (say MOO-drahs), special arrangements and poses of hands and fingers, are important focused on his thoughts that he was unaware of the symbols in Buddhist art. intense, dangerous heat. A passing group of 108 • Bare earlobes, still stretched by the heavy earrings worn in the Buddha's princely youth, stand for the snails saw the Buddha sitting there and became rejection of earthly riches and power. concerned for his health. With no hesitation or • The urna (say OOR-nah) is a mark between the eyebrows, sometimes like a jewel. It is a "third eye," regard for themselves, the snails all crawled up his representing increased wisdom and the ability to see beyond earthly existence. body in order to cover and protect the Buddha’s • Closed or castdown eyes avoid worldly distractions and help to focus attention inward. head with their own moist bodies. This generous

Image = generic outline drawing and selfless act cost them their lives, as they all died from exposure to the hot sun. They became honored as the Snail Martyrs (ones that die for their beliefs). In their memory, the number 108 is very important in Buddhist belief.

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What is Buddhism? Buddhism today is practiced throughout the world by an estimated 350 million people.

Buddhism as a religion emerged about 2,5000 years ago in northeast India, based on the teachings of the Buddha. The word “buddha” comes from budhi, which means “to awaken” in the ancient Indian language of Sanskrit.

During his lifetime, the Buddha taught a series of principles and practices called the Dharma, or Truth. These include the life philosophies known as the Four Noble Truths and the Noble Eightfold Path. These can be summed up as 1) leading a moral life, 2) being aware of one’s thoughts and actions, and 3) developing wisdom and understanding.

Buddhists believe that by studying and meditating on the Buddha’s teachings, they will ultimately achieve enlightenment, or “awakening” as he did, escaping from life’s unending cycle of suffering and rebirth to a blessed non-existence known as nirvana (say nur-VAH-nah).

Buddhists do not consider the Buddha to be a god, and do not worship him or his images. However, they may pay respects to images of the Buddha, or bow as an expression of gratitude for the Buddha’s teaching.

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Head of the Bodhisattva Avalokitesvara Cambodian, Khmer Empire (802 – 1451 CE), 1000 – 1200 CE Presented in memory of Dr. Ewald Eiserhardt by friends and students, 36.4 The downcast eyes, slight smile, and placid About Avalokitesvara What is a Bodhisattva? expression of this carved stone head point to his As Buddhism spread to different lands and A bodhisattva (say boe-dee-SAHT-vah) is one of identity as a follower of the Buddha, Buddhism's cultures, Avalokitesvara (say ah-VAH- the Buddha's most devoted followers. "Enlightened One." The head's tall, bound hairdo low-kih-TESS-vah-rah ) became known by even contains a small flame-shaped frame housing a different names. In China he was called Guan-yin Like the Buddha, a bodhisattva has achieved tiny image of the seated Buddha. (say kwahn-yihn), and in Japan he was called enlightenment, and the ability to escape from the Kannon (say cah-nohn). cycle of earthly birth and death. However, a Of the many followers of Buddha, Avalokitesvara bodhisattva chooses not the follow the Buddha into (say ah-VAH-low-kih-TESS-vah-rah) became one of Image = zoom this blessed "non-existence," known as nirvana the most significant and popular. He is known as the (say nur-VAH-nah), but chooses to remain in bodhisattva (say boe-dee-SAHT-vah) of compassion, earthly form and help others toward enlightenment. caring deeply for the welfare of others.

Attributes of the Buddha From above…

Who was the Buddha? From above…

What is Buddhism? From above…

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Head of a Buddha Afghan, Late Gandaharan Period (300 - 500 CE) Gift of Mrs. Bernard N. Schilling in memory of her father and mother, Dr. and Mrs. William S. Eisenhart, 58.20 This small stucco head of the Buddha shares many For Collection Connection of the typical features of Buddhist statues. A head Attributes of the Buddha See Another Buddha of Buddha from the modern Middle Eastern From above… country of Afghanistan serves as evidence of the How does this head of Buddha made in the area of spread of Buddhism and other religious beliefs, as modern Afghanistan compare with the bronze head well as technology, arts, and cultural practices, from Thailand? from east to west and back again along the lucrative What features are the same? trade routes known as the Silk Road. Which are different? Why? The God Ganesa Thai, Ayudhya Period (1351 - 1767), 14th century General Acquisitions Fund, 81.10 Even in its broken condition, this figure is instantly Why does Ganesa have an elephant head? What is Hinduism? recognizable as Ganesa (say gah-NESH), one of the One version of the story… Hinduism is one of the world's oldest religions, most popular Hindu gods. With the plump, round- One day the goddess Parvati (say pahr-VAH-tee) emerging over 5,000 years ago out of the early bellied body of a young boy and the head of an wished to bathe without being disturbed. She cultures of the Indus River valley, in modern day elephant, Ganesa is the good-natured patron of formed a young boy out of clay and asked him to Pakistan. successful efforts, remover of obstacles, and guard the door. The boy Ganesa refused entry supporter of education and wisdom. even to Parvati’s husband, the god Shiva (say There is no single founder or event that “began” SHEE-vah). Shiva lashed out in anger and struck Hinduism. It is a practice of rituals and lifestyle off the boy’s head, but instantly regretted his choices based on a universal, eternal soul called action. Shiva returned the boy to life, and replaced Brahman. Brahman created everything, and is Ganesa’s lost head with the first one he could present in everything, including other gods and find; that of an elephant. heroes, and in the cycle of life.

Image = Side view of head Hindus believe that the soul passes through an endless cycle of birth, death, and rebirth. The form Removed ref to “father” even tho it of rebirth is always dependent on Karma, or how appears in the stories… the previous life was lived.

Today Hinduism is practiced by over 900 million people worldwide. MAG App Object Scripts: Arts of Asia 11/28/11 11

Attributes of Ganesa hot-spots The image of Ganesa is a composite, or mixture, of four different creatures. This statuette's broken condition makes some of these traits difficult or impossible to see, but even so, Ganesa is unmistakable. • Ganesa's big, round belly contains the whole universe. • His elephant ears demonstrate that Ganesa is "all ears" to the prayers and requests of his followers. Waving them creates a wind that separates good from evil. • In the end of his trunk, Ganesa often holds a sweet treat, symbolizing the sweetness of one's true, spiritual self. • His two left hands, completely missing on this figure, likely held a small noose, to capture all difficulties, and a string of rosary beads symbolizing the continuous pursuit of knowledge. • His missing upper right hand usually holds a goad, a forked tool used by elephant trainers. It symbolizes Ganesa's removal of obstacles from humanity's path. • The large head of an elephant stands for strength and intellect. • Ganesa’s broken tusk is a symbol of sacrifice. He broke it off himself for use as a pen in order to write down sacred scripts. • Ganesa has two arms on his right side, and would have had two arms on his left side as well. Multiple arms are a sign of divinity; images of Ganesa sometimes have as many as 14 arms. • His missing lower right hand probably once held his own broken tusk, like a pen. The God Surya Indian; Made in Uttar Pradesh, Gupta Period (320 - 600 CE), ca. 600 CE R.T. Miller Fund, 82.48 One of the earliest Hindu gods, the sun god Surya Symbols of Surya hot-spots (say SOOR-yah) and his two faithful attendants Symbols incorporated into this image of Surya What is Hinduism? form a common three-figure group in Hindu art. demonstrate and confirm his identity. From above This fragment once formed part of the carved, • The halo-like nimbus, or circle of light, behind painted decoration of a temple. Surya demonstrates his divine status as the sun god. • Dandi (say DAHN-dee), Surya’s bodyguard, The tallest figure is Surya, who wears an ankle- always appears armed with a sword at Surya’s left. length tunic, trousers, and boots - a costume • Surya’s scribe Pingala (say peen-GAH-lah) influenced by trade with central and western Asia. appears at Surya's right, carrying an inkpot and His companions wear cone-shaped felt hats called pen. Phrygian caps (say FRIH-jee-ihn). These come • Surya carries lotus flowers, which close at sunset from ancient Greek art, where they were associated and blossom again at dawn. They symbolize the with “barbarians,” or non-Greek people, living in sun’s daily cycle of death and rebirth. Phrygia, now modern Turkey. • Notice how the ends of Surya's draped garment elegantly flow across his arms and down to form a nimbus over the heads of each of his two attendants. MAG App Object Scripts: Arts of Asia 11/28/11 12

Rama, Sita and Lakshmana Return to Ayodhya Indian, ca. 1850 – 1900 I know it won’t be on view for much longer, but how could I resist?!?! Gift of Helen H. Reiff in memory of Robert F. Reiff, 83.55 This small painting shows a scene near the end of Rama’s Retinue the epic Indian poem, the Ramayana (say rah-mah- Rama returned in triumph to Ayodhya, accompanied by many of his faithful friends and followers. yah-nah). The hero brothers Rama and Lakshmana, • Bears: the army of bears built a floating stone bridge so Rama could reach Sita on the island of Lanka. after many adventures, have rescued Rama’s wife • Monkeys: the monkey army fought for Rama and defeated the army of the demon king. Sita from the demon king of Lanka. Accompanied • Hanuman (say hah-noo-mahn): General of the monkey army, “son of the wind,” and devoted friend by the armies of monkeys and bears that helped and follower of Rama. His uncle Sugriva (say soo-gree-vah), the Monkey King, with orange fur and them in their fight, they return home in triumph. wearing a crown, sits behind and above Hanuman. Here they fly through the clouds on a magical • Lord Vibhíshan (say vih-bih-shahn) was rightful king of the land of Lanka (identified with modern Sri vehicle called Pushpaka (say push-pah-kah) to the Lanka). His throne was stolen by his evil brother Ravana, the demon king, and restored by Rama’s city of Ayodhya (say ah-yoh-thee-yah), where victory. Rama will be crowned king. • Lakshmana (say lahk-shmah-nah) is Rama's faithful twin brother. He chooses to go into exile with Rama and shares all his adventures. Found out that Hindu pronunciations • Rama is heir to the throne of Ayodhya. Rama always appears with blue skin that identifies him with have no emphasis on syllables… all the the god Vishnu. He traditionally represents the ideal son, husband, brother, father, and king. same. • Sita (say see-tah) is the beautiful, faithful, and virtuous wife of Rama. She is held up as a standard of ideal womanhood. What is Ayodhya? What is Pushpaka? The city of Ayodhya (say ah-yoh-thee-yah) is in the Pushpaka is a magical, self-moving, flying car, I know this will go off view soon, but modern state of Uttar Pradesh, in northeastern India. large enough to hold an entire palace or city. In the while we have it out I love using it… all Ramayana, The city is very holy to both Hindus and Muslims. the info from Picturing the Story!! “Swift through the air, as Rama chose, the This Hindu temple dedicated to the monkey hero wondrous car from earth arose, and decked with Hanuman, who accompanied Rama on his swans and silver wings bore through the clouds adventures, stands there today. its freight of kings.” In 1856, not far from the time that this painting was created, the British army took over the city from its Indian rulers. This was just one event that helped spark the famous 1857 Indian Mutiny, a rebellion of native-born Indians against the British rulers.

Image = Hanuman temple MAG App Object Scripts: Arts of Asia 11/28/11 13

What is the Ramayana? How was it made? The Ramayana is a 50,000-line epic poem. It tells Indian Miniature Painting the story of Rama, the eldest son of the king of the This complicated technique, which came to India in the mid 1500s, was adapted from Islamic manuscript ancient city of Ayodhya. painting.

First the artist lightly draws the image layout, using white pigment over any corrections. When the Rama is considered to be the Hindu god Vishnu drawing is perfect, the artist covers it with a transparent deer skin (or thin tracing paper) and pricks tiny born in human form, and his incredible adventures holes all along the drawing lines. This creates a stencil, which allows the artist to transfer the drawing to and accomplishments feature significantly in Hindu a fine watercolor paper by pouncing, or patting black pigment across the stencil. The pigment passes belief and practice. Scenes from the Ramayana have through the holes and leaves soft outlines on the fine paper surface. appeared in Indian arts - painting, sculpture, theater, and architecture - for thousands of years. The painter then applies flat water-based colors in order of shade, lighter colors first. Human figures are painted first, animal figures next, and the background last of all. Lavish decoration and bright colors The Ramayana is one of two ancient Indian epic bring out tiny details of costume, props, and architecture. poems (the other is called the Mahabharata). Both poems originated as oral stories as early as 1500 Highlights in gold leaf are the last step before burnishing, when the painting is laid facedown and rubbed BCE, and were only written down centuries later. with a polished stone to harden and smooth the surface texture. The poems and their characters have had a great influence on Indian civilization.

Image = detail of Rama & Sita

Shadow Puppet (Wayang Kulit) of Puntadéwa Javanese, late 1700s Added by popular demand after it went on view!! Gift of Mr. and Mrs. Benjamin Forman, 37.16

This flat, stick-mounted puppet represents a male character in profile, with almost grotesquely A Star of the Screen exaggerated features. However, his very long nose, squinted eyes, and blackened face, as well as his fine In spite of their “shadowy” screen roles, these clothing, demonstrate his nobility, humility, and high social status. He is over 200 years old, but puppets have intricate, colorfully painted details. represents an even older but still vital cultural tradition of shadow puppet theater on the Indonesian island Most have layers of gilding or bronze leaf as well. of Java. Colors, facial features, and costume types make the characters easily identifiable to the audience on Shadow puppets fashioned from the dried, flattened hide of water buffalo are known as wayang kulit (say both sides of the screen. wy-YAHN koo-LIHT), which means “shadow-made-by-leather.” This name also applies to the performances, where a puppeteer manipulates the puppets behind a back-lit cloth screen so their shadows Image = Zoom act out the story.

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Who is Puntadéwa? A Shadow of Himself How was it made? (say Puntadéwa (say puhn-tah-day-vah) From behind a puppet theater screen, MAG's The creation of a wayang kulit (say wy-YAHN koo- shadow puppet would look very similar to this LIHT) figure can take a team of artists several This puppet depicts the youthful Puntadéwa, the nearly identical puppet. The delicate cut-away weeks to complete. eldest of five royal brothers whose adventures patterns and designs break up the solid shapes of From paper patterns, the outline and cutwork make up the ancient Indian epic poem the headdress and costume, and lend a decorative details of each figure are traced out Mahabharata (say ma-hah-var-ah-tah). lacey effect to the puppet’s shadow. onto kulit (dried and stretched buffalo skin). Each

figure might go through several cycles of After he becomes king, Puntadéwa is called by his Image = shadow smoothing, priming, and inspection before painting more well-known "adult" name Yudhisthira (say and embellishment. Finally, the parts that move yoo-diss-teer-ah). (upper arms, lower arms with hands) and their

attached sticks are mounted on the body. Image = Detail of face

Image = double-shot – carving + painting What is the Mahabharata? What is Java? (say mah-hah-var-ah-tah) The modern nation of Indonesia includes over The Mahabharata , one of the two major Indian epic poems, tells of the struggle of five good, heroic 18,000 islands, spread across almost 775,000 brothers (seen as shadow puppets below) against their 100 evil cousins. square miles at the equator north of Australia. Java, the fourth largest of these islands, is home to over These brothers, while acknowledged as sons of King Pandu, were actually fathered by different gods. half of Indonesia’s population as well as the capital When Pandu died, he left the throne to his eldest son who was tricked by the evil cousins, lost the city of Jakarta. kingdom over a game of dice, and was forced into thirteen years of exile along with his brothers. While in

exile, the brothers prepared for war, and eventually won not only the kingdom, but honored places in Image = zoom Map heaven.

The Mahabharata and the Ramayana, the other Indian epic, originated as oral tales passed along by priests and traveling storytellers, perhaps before 500 BCE. The 100,000 verses of the Mahabharata were not written down until about 350 CE, in the ancient script of Sanskrit.

Image = puppets of 5 Pandawa brothers MAG App Object Scripts: Arts of Asia 11/28/11 15

What are Shadow Plays? What is Hinduism? The tradition of shadow puppet theater dates back at least 1,000 years on the island of Java. From above…

Above, the puppeteer, or dalang (say dah-LAHNG), manipulates the puppets from behind a screen, provides the voices of all the characters, and directs the orchestra’s musical accompaniment. At the time Watch It video to be located… of this puppet’s creation, only men could attend performances, but today they are open to all. Plays are A wayang performance may last all night long. performed for special events like public holidays, religious festivals, weddings, and births, and last all Audience members may choose to sit in front of the night long. screen to view the shadow show, or behind the

screen in order to view the orchestra, or gamelan, Scholars believe that shadow puppet plays, almost exclusively featuring stories from the Hindu epic and the puppeteer, called the dalang. poems, helped to spread Hinduism throughout Java. These beloved shadow plays became so strongly incorporated into Javanese culture that they continue to this day, even though most Javanese converted to Islam in the 1500s CE. Islamic belief against figural images may have contributed to the highly stylized, almost grotesque forms of puppet figures.

Image = Wayang Perf. from behind

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Japanese Art

View a small selection of artworks made in Japan between the 1500s and the late 1800s, a period of cultural flowering and sharing known as the Edo Period. Tsuba (Sword-guards) Japanese, Edo Period (1603 - 1868)

The tsuba (say SOO-bah) fits between the handle and blade of a Japanese samurai (say SAM-ur-eye) warrior’s long sword.

At first the tsuba was purely practical, helping to balance the sword and protect the samurai’s hand. Over time, tsuba became a samurai status symbol, individually crafted by dynasties of artists and passed from one generation to the next. This selection of nine Japanese tsuba represents a variety of shapes, working techniques, and artistic styles. How does a tsuba work? A Samurai with his Sword The Parts of a Tsuba When mounted on a sword, the tsuba fits between In this detail from a Japanese tea label, a samurai This diagram identifies and gives the Japanese names the handle (above, at top right) and the blade. The wields his long katana sword. Notice the tsuba as for the various components of a tsuba. center of the tsuba features a slot for the main a golden disk above the samurai's hands on the • Nakago-Ana (Hole to let main blade of Katana pass sword blade, and might include up to two handle of the sword, with the blade protruding through) additional openings for holding supplementary above. • Kozuka = smaller utility blade weapons that formed a samurai’s weapon set. • Kozuka Hitsu-Ana (Hole to let Kozuka pass through) Image = • Kogai = skewer-like “hairpin” tool Image = Close-up of tsuba mounted on sword Design for Tea Label: Samurai with Demon • Kogai Hitsu-Ana (Hole to let Kogai pass through) Japanese, 19th - 20th centuries • Mimi (Rim) General Acquisitions Fund, MAG 74.50.8 • Hoshi (Rivet) • Seppa-dai (raised, wider frame around the Nakago-Ana)

Explore one of these Tsuba Select one of the nine tsuba on display to learn more about it.

Three figures wearing kimono (robes) and large, basket shaped hats peer out at This round tsuba has gold-inlaid, stylized plum blossoms on a shallow-relief vine varied angles around the central blade opening of this round tsuba. pattern in the background.

Openwork Tsuba with Figures Inlaid Tsuba with Plum Blossoms Bronze Bronze with gold inlay Gift of Mrs. Leroy E. Snyder, 44.26.6 Gift of Mrs. Leroy E. Snyder 44.26.7

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The complex scene on this round tsuba features a samurai guarding five large This four-lobed tsuba pictures a carved still-life design enhanced by gold inlay. A jars, half-buried on the shore. He glares fiercely at a dragon sweeping out of the spray of cherry blossom branches, known as sakura (say sah-KUR-ah), lay next to a sky. Behind him, a woman sits at a low table, holding open a handscroll as her small box or scroll tied with twine. Notice the swordsmith’s signature along the left long sleeves billow in the wind. side of the blade slot.

Carved Tsuba with Samurai and Dragon Carved Tsuba with Sakura Branches Bronze, lacquer, and gold Bronze, lacquer, and gold Gift of Mrs. Leroy E. Snyder, 44.26.13 Gift of Mrs. Eric Fisher Wood 66.9.5

The cut-away effect of peony flowers and vines decorating this plain round tsuba The cut-away forms of leafy branches and flying geese break up the surface of this give the surface a lacy effect. Notice the swordsmith’s signature on the central round tsuba. The central blade slot features gold or brass rivets at top and bottom. blade slot. Openwork Tsuba with Flying Geese in Treetops Openwork Tsuba with Peonies and Vines Bronze and gold Bronze and gold Gift of Mrs. Eric Fisher Wood 66.9.59 Gift of Mrs. Eric Fisher Wood 66.9.38

The lively, three-dimensional image of a leaping carp stands out in dark bronze Minimal gold inlay and cut-away enhance the very shallow landscape at the top of against the golden brass background of this four-lobed tsuba. this round tsuba. At lower left, a peasant farmer dozes and chews a grass strand, his large hat hiding his face and his tool abandoned by his feet. Modeled Tsuba with Leaping Carp Bronze, brass, and gold Iron Tsuba with Resting Peasant Gift of Mrs. Eric Fisher Wood 66.9.89 Iron and gold Gift of Mrs. Eric Fisher Wood 66.9.94

This “flat plate” round tsuba features cut-outs of a tomoe (say TOE-moe), or “comma” shape at the upper right, and a wavy, linear shape below. This design may reflect a simpler, non-pictorial style of a much earlier period.

Iron Plate Tsuba with Cut Shapes Iron Gift of Mrs. Eric Fisher Wood, 66.9.201

We probably should have additional Japanese objects... maybe a stencil, one of the vessels, and the Kannon???

Ideas welcome. These are hard because so many of them circulate. MAG App Object Scripts: Berkeley 11/14/11 1

Egyptian Art

Explore the decorative and functional works of art produced for daily, ceremonial, and funerary purposes in ancient Egypt.

The Coffins of Pa-debehu-Aset Egyptian, Ptolemaic Period (332 - 30 BCE) This is a “brief” version… more images and info in Explore Egyptian Symbolism “Tour” Marion Stratton Gould Fund, 2000.11 Over 2,300 years ago in ancient Egypt, there lived a Who was Pa-debehu-Aset? The Power of the Name man named Pa-debehu-Aset (say PAH-deh-beh- We know very little about the man named The ancient Egyptians believed that the name of hoo-AH-seht). He was not a king, but he was Pa-debehu-Aset (say PAH-deh-beh-hoo-AH-seht). the deceased held great spiritual power. wealthy enough to afford this set of two wooden The few facts we do know come from the writings According to their beliefs, we help to sustain Pa- nesting coffins for his burial. on the coffins. debehu-Aset's spirit in the afterlife every time we • his own name – it is written on both coffins. read and or speak his name. Each detail on these coffins has a symbolic • his father’s name – Khonsu-ir-aa (say KON- meaning, and reflects thousands of years of soo-eer-AH) Say PAH-deh-beh-hoo-AH-seht ! Egyptian artistic and religious tradition. • his mother’s name – Per (say PAIR); she is His name is written many places on both coffins. referred to as “Lady of the House.” To find it easily, look on the higher, foot-end of • his hometown – Asyut (say AH-see-yoot), in the shrine coffin, in the row of writing along the Upper, or southern, Egypt. top edge. The scribe could not fit Pa-debehu- • he (or his family) was wealthy enough to afford a Aset's complete name in the space provided. He set of painted, nesting coffins made of wood. had to add "Aset" above "Pa-debehu" in the main line of text.

Image = detail of PDA’s name

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Coffin or Sarcophagus? What is Asyut? Do you know the difference between a coffin and a (say AH-see-yoot) sarcophagus? The mid-sized city of Asyut (say AH-see-yoot) is located about midway between the northern and Both are funerary objects, created to hold the body southern borders of ancient Egypt. It is named as of a deceased person. Both can be very plain or Pa-debehu-Aset's home town on the coffins, and highly decorated in appearance. may be near the location of the tomb where he was

The difference comes from the materials they are originally buried. made from. A coffin can be made of wood, metal, Image = map from text panel w Asyut circled clay, or stone, but a sarcophagus is always carved from stone. Limestone, granite, or marble are the most commonly used stone types for sarcophagi.

This set of coffins is made of wood, so neither one can be called a sarcophagus.

Good tidbit to hang on to…

During the time of Pa-debehu-Aset, Asyut was called Lycopolis, “the city of wolves.” The "wolves" may have been the jackal gods Anubis and Wepwawet (say WEHP-wah-weht), patron gods of Asyut. Both of these gods, as well as the name of Asyut, appear on Pa-debehu-Aset’s coffins.

The Outer Coffin

Shaped like a Shrine Osiris' Entourage Deities by the Dozen The Egyptians made “houses” known as shrines At left, the falcon-god Horus stands behind a shrine of Multiple gods and goddesses, some in human for statues of the gods. This outer coffin is known his father, Osiris. The procession of gods and form, some as animals, others human with animal as a shrine coffin because its shape and sloping guardian spirits approaching from the right act as heads, cover the surfaces of the coffin. Their roof mimic that of a per-wer shrine. The taller Osiris’ bodyguards and companions, just like a images would act to protect Pa-debehu-Aset foot end accommodates the high foot pedestal of celebrity’s entourage (say ON-toor-ahj) does today. during the dangerous journey to the afterlife. the Inner Coffin when it nests inside. Image = full side view Image: Detail of Outer Coffin Lid Image = angle view (zoom)

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The Inner Coffin

Missing: One Mummy A View Inside Tending the Mummy Pa-debehu-Aset’s mummy is no longer inside its The inside of the inner coffin is coated with a black This classic Egyptian funerary scene features anthropoid (say ANN-throh-poyd), or person- resin. On the bottom, the figure of Isis, called the Anubis, the jackal god of mummification standing shaped, coffin. However, according to ancient "Goddess of the West," is outlined in brown. When over a mummified body. The mummy lies on a Egyptian belief, the empty coffin can substitute Pa-debehu-Aset's mummy was removed from its funerary bed with lions’ heads and legs. Several for his missing body, allowing the spirit to live on coffin, the linen wrappings became stuck and powerful goddesses on both sides watch in the afterlife. damaged Isis’ head. protectively over the mummy.

Image = Inner coffin (zoom) Image = inside view Image = Detail of Anubis and mummy

King Ny-user-ra Egyptian, Old Kingdom (2686 - 2125 BCE), ca. 2390 - 2360 BCE per Boston MFA (our source for OK dates?!) N ruled from 2445-2421 BCE R.T. Miller Fund, 42.54 Small but significant, this royal statue represents Setting the Standards hot-spots King Ny-user-ra (say nie-OO-sir-rah), who ruled Ny-user-ra's statue demonstrates many features commonly found on Egyptian royal statues for over 500 Egypt over 4,500 years ago. In his time, the Great years before him, and for another two thousand years after. Pyramids were only about 200 years old. • The nemes (say NEH-meez) was a uniquely Egyptian headdress. Made of linen, it covered the forehead, tucked behind the ears and fell in two flaps onto the shoulders. The rest of the fabric bunched into a tail to Ny-user-ra’s statue is carved from red Aswan hang down the back. granite, his favorite stone. It was found at the site • The mace in his right hand rests casually on his shoulder. It is a club-like weapon that, like a scepter, of the great Temple to the god Amun at Karnak, symbolized royal power. where all the Egyptian kings built additions and • He stands confidently in the formal pose for men, the left foot ahead of the right as if in mid-stride. left offerings. • His name is carved into the base in front of his right foot, but it is very difficult to see. The symbols are encircled with the cartouche (say kar-TOOSH), a loop of rope that surrounds royal names. • His short pleated kilt was the fashion for Egyptian noblemen.

Image = ¾ view MAG App Object Scripts: Berkeley 11/14/11 4

Two Halves make a Whole QUIZ YOURSELF Ny-user-ra’s Name Ny-user-ra’s statue has an obvious break at the Real or Replica? Ny-user-ra's name means “Possessed of [the sun level of the elbows, just above the waist, which This statue of King Ny-user-ra was broken into two god] Re’s power.” extends across the entire body. pieces. You are looking at a "whole" statue made up of one real stone carving that belongs to MAG, and His name carved onto the base of this statue is In 1974, a visiting Egyptologist recognized one plaster cast of the other part from the Egyptian almost impossible to see. However, it is there, MAG's granite statue fragment as the missing Museum in Cairo. and it helped experts to identify the king pictured piece of a partial statue in the Egyptian Museum Which part of this statue is the "real" fragment, by this royal statue. in Cairo. He arranged for both museums to carved of Aswan granite? exchange plaster copies of their part, so now both 1-The lower part, with legs, feet, and base. This is an example of Ny-user-ra's written name, can display the “whole" statue. 2- The upper part, with head and shoulders. as found in his funerary temple at Abusir, Egypt. Can you tell which part is real, and which is 3- Neither - they are BOTH replicas! This stone pillar is lying on its side, so turn the the replica? image clockwise to see it correctly. **RIGHT! The upper part is real granite; the lower Image = ¾ view (no more zoom, but more text) part was made of plaster and painted to resemble Image = From Abusir granite. Standing Figure of the Finance Minister Maya Egyptian, New Kingdom, Dynasty 18 (1550 - 1295 BCE) , ca. 1330 BCE R.T. Miller Fund, 42.55 This carved fragment originally decorated a wall “Supervisor of Men” The Tomb of Maya in the tomb of Maya (say MY-ah), a powerful Above Maya’s head, the largest hieroglyph pictures a This fragment was originally part of a larger Egyptian nobleman. It shows Maya himself, man seated on an animal-leg throne and holding a carved panel in the tomb of Maya and his wife wearing a shoulder-length braided wig, a long flail, or short whip. This symbol means “supervisor of Meryt. When Maya's tomb was first discovered pleated kilt, and a double-strand shebyu (say men” and signifies Maya's high status in the royal and excavated in 1843, the archaeologist Richard SHEB-yoo) necklace. By having himself shown court. Maya served three different pharaohs as Lepsius made drawings of the tomb sculptures, wearing this necklace, a royal award for valor or Overseer of the Royal Treasury. recording their original appearance. distinguished service, Maya demonstrated his favorable position in society and at the royal Image = zoom detail of Maya’s head & Glyph Image = Complete tomb panel, drawing by R. court. Lepsius, ca. 1843.

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A Shebyu Necklace Hear Maya’s Story This late example of a shebyu necklace has five Maya's Story, "In his Own Words" strings of gold beads; most have only three to four strands. The large, square clasp, highly decorative and Listen to Maya's life story, as he might have told inscribed, sat at the back of the wearer's neck to it. The facts and events described in his story balance the weight of the beads. come from inscriptions in his tomb, as well as on other monuments and records. Image: Shebyu necklace The Treasure of the Royal Tombs of Tanis (ca. 1070 - 712 Audio – from PIC BCE) Cairo, Egyptian Museum Sphinx TOUR STOP Egyptian, Ptolemaic Period (332 - 30 BCE) R.T. Miller Fund, 51.307 The paws, tail, and body shape of this creature all Secrets of the Sphinx hot-spots identify it as a lion, the giant cat called “King of What happened to the missing head of the Sphinx? No one knows for certain, and if the Sphinx knows, he the Beasts.” In ancient Egypt, the lion-body is keeping it a secret. He came to the MAG without his head, but he will share clues about the rest of his topped with the head of the pharaoh created the story, if you know where to look. sphinx (say sfinks), a potent royal symbol of • Look at the Sphinx's shoulders, on either side of its now-missing neck. These two flap-ends are the power. As evidence of the now-missing royal remains of the nemes (say NEHM-eez), the linen headdress worn by Egyptian kings. head, remnants of the nemes (say NEHM-eez), the • The stone platform and the body of the Sphinx are all one carving, from a single block of very hard pharaoh’s linen headdress, are still visible on the granite. sphinx’s shoulders. • The artist who carved this stone Sphinx even made use of the decorative pattern formed by the lion's ribs. • A drilled hole as well as the cut-off end of a metal rod indicate that someone tried to repair this Sphinx in the past. How long ago? Only the Sphinx knows, and he’s not telling. • Like other Egyptian sphinx figures, this one had the human head of a king, or pharaoh. It would likely have faced forward, so that from this view, you would see the face in profile. • Notice the Sphinx's powerful lion's paws, stretched out in front. • The long tail of a lion curls up and over the back haunches of the Sphinx's lion body. MAG App Object Scripts: Berkeley 11/14/11 6

"Horus of the Horizon” Giant-Sized Look-a-Like The word “sphinx” is actually Greek. The The most famous Egyptian sphinx stands near the Egyptian name for this mythical creature was equally-famous Great Pyramids at Giza, in Egypt. Horem-akhet (say HOR-ehm AH-ket), which This Great Sphinx is very large, over 65 feet high, and means "Horus of the Horizon.” The name refers to made of limestone. And of course, this Sphinx still has the god Horus as the rising sun, associated with its head. the power of the ruling pharaoh. Image = The Great Sphinx at Giza. Image= View of the back side of the Sphinx, as Photo by Barcex (http://en.wikipedia.org/wiki displayed. File:Great_Sphinx_of_Giza_-_20080716a.jpg COLLECTION CONNECTIONS

The God Horus as a Falcon The God Horus as a Youth Egyptian, Saite Period (664 - 525 BCE) Egyptian, Late Period (664 – 332 BCE) R. T. Miller Fund, 53.44 Gift of the Estate of Emily and James Sibley Watson, 51.119 Find this artwork in the case of Egyptian gods and goddesses. Find this artwork in the case of Egyptian gods and goddesses. God of the sky and the sun, Horus (say HOR-uss) often appeared in Egyptian art as a falcon. Wearing the typical Egyptian child's hair style - head shaved except for a sidelock tail - the god Horus (say The son of the god Osiris, Horus became pharaoh HOR-uss) appears in this small figure as a young boy. after his father’s death and descent to the He holds his finger to his lips in a typical gesture underworld. The ancient Egyptians considered the signifying youth in Egyptian art. Only the combined time of Horus' kingship to be a mythical golden crowns of Upper and Lower Egypt betray him as age, and associated Horus with the power of the anything other than an ordinary Egyptian child. ruling pharaoh.

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Black-Topped Red Ware Vessel TOUR STOP Egyptian, Predynastic Period (ca. 5300 - 3000 BCE) The C. Herbert Ocumpaugh Collection, 28.106 Over 5,000 years old, this small pot gained its distinctive color pattern from the firing technique used by ancient Egyptian potters. After being shaped and air dried, the pots were placed upside-down in the fire, where coals and ash kept air away and caused the clay to turn black. The God Osiris as a Mummified Man TOUR STOP Egyptian, Third Intermediate Period to Late Period (1069 - 332 BCE) Gift of the Estate of Emily and James Sibley Watson, 51.116 As the Egyptian god of the Underworld, Osiris (say King of the Gods hot-spots oh-SIRE-iss) ruled as king of all Egyptian gods and In Egyptian art, Osiris is easily identified by his distinctive costume, with details which refer to his royal goddesses. The story of Osiris’ death and rebirth status. became the foundation for Egyptian religious and • Crook: used by shepherds, to guide and control their flock. It represents the pharaoh's role as leader of funerary beliefs and rituals. his people. • Flail: a short whip which stands for the authority of the pharaoh. The ancient Egyptians believed that the spirit of the • Beard: braided into a tight plait; all pharaohs wore a strapped-on false beard like this as part of the dead traveled through the underworld, undergoing a royal costume. • Uraeus: (say yoo-RAY-uss) the cobra, the royal serpent which symbolizes the sun and a guardian series of trials and tests, and if proven worthy, figure. Notice the body slithering down from the top of the crown. became associated with Osiris in the afterlife. • “White Crown:” the tall crown worn by the king of Upper (Southern) Egypt; from the early historical Funerary inscriptions often refer to the dead as “the period before it was united with the Lower (Northern) kingdom. Osiris,” as on the Coffins; “The Osiris Pa-debehu- • Ostrich Feathers: always ornament both sides of the White Crown when it is worn by Osiris. Aset.” • Mummiform: wrapped tightly in the "form of a mummy," referring to Osiris' death, mummification, and magical rebirth as the king of the underworld. • The inscription, which wraps around the four sides of the base, is written in hieroglyphs. It has been only partially deciphered, but refers to the statue's owner, Wenamun, and one parent, possibly Mestep.

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The Story of Osiris (As Collection Connection) Osiris’ position as king of the gods inspired great jealousy in his brother Seth, god of the Find this artwork in the case of Egyptian gods Storm, Chaos and the Desert. Seth killed Osiris, then tore Osiris’ body into many pieces and goddesses. scattered throughout Egypt. His grieving widow, the goddess Isis, and her sister As the Egyptian god of the Underworld, Osiris (say Nephthys searched tirelessly until they gathered together all the pieces of Osiris’ body. oh-SIRE-iss), ruled as king of all Egyptian gods and They took the pieces to Anubis, the god of Mummification, who stitched the pieces back goddesses. The story of Osiris’ death and rebirth together and wrapped Osiris’ body in linen strips. Isis used magic to reunite Osiris’ spirit became the foundation for Egyptian religious and with his mummified body, and Osiris began a new life as lord of the Underworld. Osiris funerary beliefs and rituals. and Isis had a son named Horus, who grew up to challenge and defeat his evil uncle Seth, In art he wears the tall “White Crown of Upper becoming the first legendary pharaoh of Egypt. Egypt,” ornamented on the sides with ostrich feathers. The royal serpent, or uraeus (say yoo- RAY-uss) at the front of the crown, and the crook and flail he carries, signify his kingship.

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The God Anubis as a Man with a Jackal's Head TOUR STOP Egyptian, Third Intermediate Period to Late Period (1069 - 332 BCE) The C. Herbert Ocumpaugh Collection, 28.180 The body of a man with the head of a jackal, a (As Collection Connection) wild dog-like animal of the desert, is one form of The body of a man with the head of a jackal, a wild the Egyptian god Anubis (say ah-NOO-biss). dog-like animal of the desert, is one form of the Egyptian god Anubis (say ah-NOO-biss). In Egyptian mythology, Anubis created the first mummy from the body of the god Osiris. In Egyptian mythology, Anubis created the first mummy from the body of the god Osiris. Anubis was very important in Egyptian funerary preparations, and appears prominently in funerary artworks and ritual objects. The God Khepri as a Scarab Beetle The Goddess Neith The Goddess Wadjet Egyptian, Late Period (664 - 332 BCE) Egyptian, Third Intermediate Period to Late Period Egyptian, Saite Period (685 - 585 BCE) Loaned by the Peabody Essex Museum, Salem, (1069 - 332 BCE) Gift of the Estate of Emily and James Sibley Massachusetts (16.2003L) Gift of the Estate of Emily and James Sibley Watson, Watson, 51.118 51.117 (As Collection Connection) (As Collection Connection) (As Collection Connection) The Egyptian god Khepri (say KEH-pree) took A guardian of the Red Crown of Lower (northern) A guardian goddess of Lower, or northern Egypt, the form of the scarab beetle, a common desert Egypt, the goddess Neith (say NEETH) was also a Wadjet (say WAH-jet) appears here in the form of insect. The scarab lays its eggs in a ball of dung, goddess of war, the hunt, and weaving. Neith was a woman with the head of a lion, crowned with the then rolls the dung ball along the ground. believed to have first woven the linen cloth used as solar disk and the raised cobra, or uraeus (say yoo- mummy wrappings, and watched over the head of the RAY-uhs). All of these are signs of Wadjet’s The Egyptians pictured Khepri as a giant scarab deceased along with the goddess Nephthys. association with the sun. beetle, pushing the sun up out of the underworld “below” the earth each morning, rolling it across The goddess Wadjet helped protect the young god the sky, and down into the underworld again Horus from his enemies after the death of Osiris. each evening. He became a powerful symbol of Her name means “the green one,” a reference to the renewal and rebirth. green reeds of the Nile River delta, and to the green scales of her sacred animal, the cobra. MAG App Object Scripts: Berkeley 11/14/11 10

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Greek Art

Explore a selection of artworks representing the beginnings and the legacy of the ancient Greek civilization.

Kraters DIRECTORS TOUR Mycenaean; Made in Cyprus, 1275 - 1225 BCE R.T. Miller Fund, 51.203, 51.204 These two fine pottery kraters (say KRAY-terz) Chariots on Parade hot-spots Ancient Warfare hot-spots are specially designed for mixing wine with water The additional elements in this Mycenaean chariot These kraters feature the popular Mycenaean war in the ancient Greek fashion. Even the early pre- scene add interest and life. chariot image. Greek Mycenaean (say my-sehn-EE-ehn) • The two-man chariot team of fighter and driver • This chain of interlocking S-curves may have been civilization recognized the social significance of share duties in battle. intended to suggest the swift movement of the wine-drinking. A krater, cups, and serving pieces • This "picket fence" design in the background may team, stirring the breeze as it passes by. often formed a drinking set used at a Mycenaean represent buildings in the surrounding scenery. • The spaces below the handles are used for stylized warrior’s funeral feast. Friends and relatives • A running figure sprints ahead of the horse team, shapes that suggest trees in the landscape. gathered at his home to eat and drink to his perhaps leading them in the procession. • The two horse team pulling the chariot appears memory, as at a modern wake. After the feast, the • A leafy wreath on a stand may represent one of the here as a single horse body with two heads. drinking set might accompany the dead into the honors presented to the deceased. • The chariot box was likely made from wood tomb. • The artist's attempt to show a two horse team covered in leather. The dotted pattern perhaps is pulling the chariot resulted in a two headed horse meant to show a spotted skin. with a single body. • The chariot driver is in charge of the team, holding the reins and controlling their movement Image = detail, Krater 51.203 across the battlefield. • The second warrior does the fighting, armed with spear or short sword. He also bears a shield to protect himself and his driver.

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Who were the Mycenaeans? How were they made? Quiz Yourself From about 1900 to 1100 BCE, the city of Mycenaean potters used a form of the potter’s wheel, Two are Better than One Mycenae (say my-SEE-nee) led a powerful, turned by hand, to shape the body of the vessel. Ancient chariots like the ones on these vases were highly-organized system of pre-Greek city-states. usually manned by a team of two warriors. Tales of the Mycenaeans are believed to survive Additional details like feet, handles or spouts were Why was it better to have two men instead of in the Greek epic poems about the Trojan War; attached separately. The addition of incised or one? the Iliad and the Odyssey. painted decorations may have been the work of 1-Two warriors could make better decisions than different artists. one alone.

Image = Map of Mycenaean culture Finished clay vessels were baked, or fired, in a 2- One warrior read a map to the battle, while the The Mycenaeans, ca. 1500 BCE special oven called a kiln. The potter controlled the other gathered the weapons. air flow and temperature inside the kiln, changing the 3- One warrior held the horses' reins while the other color of the finished pieces and their "painted" fought. decorations. **RIGHT! While one man drove the horses around Image= Greek workshop, potter’s wheel the battlefield, the other fought with a spear and shield. The Funeral of Patrokles; from the Iliad

Listen to a storyteller read a portion of the famous Greek epic poem, the Iliad. The events in the Iliad are believed to have taken place during the Mycenaean period.

Audio from PIC

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Pair of Miniature White-Ground Lekythoi TOUR STOP / Coll Conn Greek, Late Archaic Period (ca. 700 - 480 BCE) University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 29.87.1-2 Nearly identical in shape, color, and details, these Sleepy Silenus Dancing Dames two miniature clay jars likely held small amounts The stooped, bearded figure riding a donkey is Silenus Wild women known as maenads (say MAY-nads) of an expensive liquid like perfumed oil. (say sill-AY-nuss), an old man who often accompanied could become crazed during rituals and festivals Dionysus and his followers on their travels. honoring Dionysus. They danced until they Their shape, with a single handle and tall neck, is Grapevines appear to spring from Silenus, while a collapsed with exhaustion. a type known as a funerary lekythos (say LECK- pitcher of wine hangs down from the donkey's saddle. ih-thos) usually associated with offerings made to Image = Detail of Maenad, Miniature Lekythos, the deceased at the grave. The decorative figures Image = Detail of Silenus (2) 29.87.1 on the exterior, in black silhouetted against the white background, are identified with Dionysus, the Greek god of wine.

Wreath of Oak Leaves DIRECTORS TOUR Greek, Hellenistic Period (323 - 90 BCE), ca. 300 BCE Gift of Dr. Robert L. Berg, 99.57 Glittering with gold, this small hoop-like wreath Sacred Leaves Wearing the Wreath crowned a wealthy Greek’s head on very special The delicate shape of small pin-oak leaves associate Victorious Roman generals wore a wreath for occasions and ceremonies. The ancient Greeks this wreath with Zeus, king of the Greek gods on their triumphal parades through the city. prized wreaths of natural leaves and vines as well Mount Olympus. The ancient Greeks heard the voices Eventually the wreath became associated with the as luxurious, permanent versions in gold. of the gods in the leafy rustlings of sacred trees, emperors, as a type of imperial crown. planted in groves of the temples. Image = Portrait of a Caesar Image = The sacred oak trees at the Temple of Zeus, Circle of Gregorio di Lorenzo (Italian, active Dodona, Greece 1461 -1473), ca. 1470 - 1500 Given in memory of Inez D'Amanda Barnell by her friends, 65.8

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Corinthian Helmet Greek, Archaic Period (ca. 700 - 480 BCE), ca. 625 BCE Maurice R. and Maxine B. Forman Fund, 2008.70 The elegant appearance of this ancient bronze The Best in Battle Gear hot-spots helmet would be transformed by an ancient Greek The shape of the Corinthian helmet made it instantly recognizable, and added to the fearsome reputation of warrior glaring fiercely through the cut-outs. The the hoplite warriors. hoplites (say HOP-lyts), heavily-armed foot • The narrow spoon-shaped nose guard can easily break off, as it once did on this helmet. Notice how the soldiers of the ancient Greek armies, favored this tiny holes for stitching the lining into place are staggered, so the narrow metal piece is not weakened any style of hammered bronze helmet, and it became further. their identifying trademark. • The cap of the helmet is fitted to the shape of the head. In Greek, "helmet" is kranos, the source of the English word "cranium." • The almond-shaped eye cut-outs did not allow for great vision, but gave the helmeted warrior an Condition Report intimidating appearance. Despite a few rough edges and a repair job on the • The cheekpieces of this helmet extend forward to protect the warrior’s face and jaw. Later helmet styles noseguard, this helmet is in excellent condition. It had cheekpieces on hinges, separately attached to swing out from the warrior’s face. shows no evidence of use, only the greenish “rust” • The back edge of the helmet flares out slightly to protect the wearer’s neck. of bronze exposed to over 2,500 years of weathering. When new, the bronze would have had a soft, red-gold shine.

Image = zoom Grave Stele Greek; from Salamis, Classical Period (ca. 480 - 323 BCE), 300s BCE Helen Barrett Montgomery Bequest, 36.54 Carved of high-quality Pentelic marble quarried Read their Names Signs of Stone-Working from Mt. Pentelikon, near Athens, this grave Personalizing a ready-made monument, Greek letters In order to shape marble and other very hard marker is likely the product of an Athenian spell out the names KLEITOMACHE (say kly- stones, masons and carvers used specialized stonecarver’s workshop. It was purchased ready- TEHM-uh-kee) and EUMACHOS (say yoo-MAH- tools. On the top, sides, and back of this made and transported to the island of Salamis, kohss) above the heads of these two otherwise stele, the rake-like markings left by claw where it was excavated. The stele was originally unknown people. The carved letters were originally chisels are still visible. painted in bright colors, likely adding details that painted with red. are now lost. Image = Detail of top surface Image = names detail MAG App Object Scripts: Berkeley 11/14/11 15

Is this Hello or Goodbye? The architectural design of this Classical Greek gravestone mimics the appearance of a Greek temple portico, or front porch. It frames a sentimental scene of a seated man and a standing woman clasping hands. • Columns, probably painted and topped with the scroll-shaped Ionic capital, frame the scene on each side. • The triangular pediment likely also featured painted decoration. • Decorative shell-shaped acroteri (say ack-roh-TEE-ree) ornament the side and center peaks of the roof. • The woman's hand may have held painted flowers or a small vessel, which did not survive over time. Likely the background and figure details would also have been painted. • The name KLEITOMACHE (say kly-TEHM-uh-kee) is inscribed in Greek letters in the space above the woman's head. • The name EUMACHOS (say yoo-MAH-kohss) is inscribed in Greek letters in the space above the man's head. • This "clasping hands" scene is known as the dexiosis (say dehk-see OH-sihs). The dexiosis can be interpreted as a final farewell between loved ones, or a symbolic reunion in the life after death.

Black-Figure Kylix with Dionysian Revelers Greek, Archaic Period (ca. 700 - 480 BCE), 500s BCE University of Rochester Appropriation for the C. Herbert Ocumpaugh Collection, 29.90 This drinking cup is a kylix (say KY-licks), “Dionysian Revelers” TAKE A CLOSER LOOK specially designed for wine-drinking in the Greek Half-man half-goat satyrs (say SAT-ers) and wild Take a closer look at this kylix by selecting from fashion. The shape was elegant and balanced, the women called maenads (say MAY-nads) dance close-up views of the object from all sides. wide bowl enabled easy refilling, the shallow around the exterior of this kylix, weaving between depth provided plenty of room for the wine to hanging grape vines. They are followers of Dionysus (Image slideshow x 12; text to accompany each “breathe,” and the handles allowed it to hang on a (say DY-oh-NY-suhs), the Greek god of wine and image) peg when not in use. celebration.

The kylix is a drinking cup for wine. This The kylix is a very shallow cup, which means it might Sometimes a kylix will be plain on the outside, but example has a short foot on a base. have been tricky to drink from. nearly all have a design painted on the inside of the bowl. This is another dancing satyr. Notice how the grape vines appear to "dance" The dancing figures seem to form a continuous circle, The loop handles on each side of the kylix briefly along between the maenads and satyrs. cavorting around the outside of the bowl. break off the circle of dancers. The satyrs dance with women who appear to be The satyrs have long beards and horse tails painted in Dionysus himself does not appear, but is wearing heavy cloaks or other long garments. red. represented by his frenzied followers. MAG App Object Scripts: Berkeley 11/14/11 16

The grape vines weaving between the figures are The poses of the dancers, with arms and legs out at The satyrs have long beards and horse tails painted laden with large, triangular-shaped bunches. angles away from the body, indicate their wild in red. (repeat) behavior. What is “Black-Figure?” Black figures on a red background = “Black Figure”

This kylix is an example of the earlier Black Figure style of Greek vase painting. Just like it sounds, it involved painting figures onto the plain orange-red background of the vessel. The “paint” was actually watered down clay called slip, which was virtually invisible at first, but turned black during the pot’s firing process.

Image = detail of BF Dionysian kylix

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Etruscan Art

See a selection of artworks representing the unique characteristics of the Etruscan civilization of ancient Italy.

Votive Head of a Woman TOUR STOP Etruscan (ca. 750 –90 BCE) , 200 - 1 BCE Presented by Mrs. Charles H. Hoeing in Memory of her husband, Dean H. Hoeing, 47.14 This well-formed Etruscan pottery plaque Mass-produced Maidens Who were the Etruscans? resembles Greek art of the previous century. Her The appearance of a border or frame around this head Etruria (say ee-TRUH-ree-ah), land of the curly hair parted in the middle, bead necklace, and provides evidence of a mass-production industry. Etruscans, shared Italy with Greek colonies, and competed for trade and land with their African classically generic features all show the influence Workshops produced these clay heads and other rivals from the city of Carthage. Eventually the of Greek art on this great culture of Italy. Like the popular objects from molds in great numbers for little Etruscans conquered Carthage and dominated the Greeks, the Etruscans produced partially three- expense, often without bothering to trim the excess western Mediterranean before the rise of Rome. dimensional, molded clay plaques as objects for material left around the top. presentation in a god’s temple. Perhaps this lady Image = The Eastern Mediterranean, ca. 700 BCE was intended to represent the goddess herself, or (map from gallery Panel) to stand in for the donor in the god’s presence.

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Cinerary Urn with Lid Etruscan (ca. 750 - 90 BCE), 200-100 BCE Gift of Joseph Schiff, 44.49a-b Based on earlier, life-sized clay coffins unique to Lady of Leisure A Sign of the Times Etruscan art, this smaller-scale, molded pottery An image of a young woman, wearing a long gown Scenes emphasizing fighting and death became urn retains some of its original painted colors. and holding a feather fan, reclines on the lid. While fashionable on Etruscan funerary vessels as their The urn was designed to hold the ashes of a she was likely intended to represent the deceased, she civilization began to fall under the domination of cremated (ritually burned) corpse. Cremation was is a molded “stock character,” not a portrait. the powerful Roman Republic. Reusable molds the most common form of burial practiced by the made it easy for workshops to reproduce urns Etruscans and other cultures in ancient Italy. Image = zoom detail of lid featuring the same scenes.

Image = detail of lower urn The Battle Scene This scene depicts a tragic episode from Greek mythology. The two sons of Oedipus, king of Thebes, had agreed to share the throne after their father’s death. However, one son changed his mind, gathered an army, and took the throne for himself. The other son raised an army as well, and the brothers ended by killing each other. • Vanth, the Etruscan underworld demon, makes a dual appearance to encourage the fight. She commonly wears a short garment with straps across the breast. • Vanth, underworld demon of Etruscan mythology, thrives on chaos and conflict. She carries a long torch to guide the souls of the dead. • The two brothers, each bearing a round shield and dressed in short cloak and cap, slash at each other with short swords. • An artificial architectural setting, formed by painted columns on each side and topped by a carved lintel, neatly frames the otherwise chaotic scene.

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The God Mars as a Warrior Etruscan (ca. 750 –90 BCE), 400s BCE R. T. Miller Fund, 53.41 Even without his spear and shield, this fierce Master Metalworkers Collection Connection bronze warrior appears ready to fight! His Plentiful mineral resources and highly skilled metal Warriors in Action oversized helmet crest and elegantly-balanced workers made the Etruscan civilization wealthy and stance give him an impressive presence in spite of successful. Their highly desirable bronze weapons, Black-Figure Kylix with Warriors in Battle his small size. vessels, and ornaments enabled the Etruscans to Greek, 500 – 400 BCE dominate the sea trade routes of the central University of Rochester Appropriation for the Mediterranean region. C. Herbert Ocumpaugh Collection, 29.91

Find this artwork in the case of Greek art to your Image = alt view right. The warriors on the outside of this Greek wine- drinking cup fight with spears and swords, defend themselves with round shields, and wear impressive crested helmets. Scenes depicting the legendary battles of gods and heroes were popular as decorative themes for Greek pottery.

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Roman Art

See a variety of material objects and works of art representing the civilization of ancient Rome and its reach across the ancient world.

Fresco Fragment with Cupid Holding a Mask Roman; Made in Pompeii, before 79 CE The C. Herbert Ocumpaugh Collection, 28.75 Bright colors and a playful image contradict the Cupid’s Closeup hot-spots A Room with a View tragic history of this painted wall fragment. It Even this small painted fragment has many details that Colorful, detailed wall paintings brightened up the survived the deadly volcanic eruption of Mt. tell about the Romans' love of color and beauty. small, dark rooms of Roman upper-class homes. Vesuvius in 79 CE that destroyed the Roman city • Roman theater actors wore large masks with Favorite images ranged from gardens and city of Pompeii. Many other such fragments, as well as exaggerated features. That way, even audience views to scenes from mythology and daily life, entire homes, shops, and public buildings also members in the cheap seats could recognize the arranged with decorative garlands and frames. survived to testify about life in ancient Rome. characters. MAG's small "Cupid" fragment once formed part • The feathery, bird-like wings tell us that this is no of the colorful wall frescoes that decorated an ordinary child – this is a young god! upper-class Roman villa in Pompeii. • The remains of a decorative border along the top Seaside resort towns like Pompeii attracted [bottom] of this fragment show that it once formed wealthy Romans like the Vetti family, who built part of a long, narrow band or trim. Perhaps it this lavish summer home with elegant dining framed a doorway or window, or surrounded a larger rooms, libraries, and guest rooms. scene.

• This vibrant color comes from a mineral-form of Image = View of the Ixion Room of the House of mercury called cinnabar. Because the color appears the Vettii, Pompeii. frequently in Pompeii's ruined buildings, it is called "Pompeii Red" today.

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Pair of Double-Head Flasks Roman, Imperial Period, ca. 200 - 400 CE The C. Herbert Ocumpaugh Collection, 28.68.1, .2 The size of these fine Roman glass bottles offers a Don’t Look Now… How was it Made? clue to their former contents; small amounts of The snarling faces on this pair of small flasks are Mold-blown Glass expensive perfumes. In ancient Roman burials, those of Gorgons (say GORE-gons), frightful snake- Melted glass has a soft, sticky quality that allows perfume flasks served as ritual offerings, helped to haired monster-women from Greek mythology. The it to be shaped in molds or blown (like mask the scent of death, or represented treasured most famous Gorgon was Medusa (say meh-DOO- bubblegum) into rounded hollow shapes from the personal goods. The back-to-back, double-faced sah), who could turn people to stone at a glance. Their end of a blowing pipe. design of these small flasks is a type known as scary qualities made Gorgon heads popular as charms janiform (say JAN-ih-form), after Janus, the two- against evil. These small flasks were formed using both faced Roman god of doorways. methods at once. The small blob of molten glass Image = Detail of face was blown into shape while inside of a removable mold, likely made of clay, which left the shape of the Gorgon heads on the soft glass.

Togatus Roman, Imperial Period, ca. 100 CE Marion Stratton Gould Fund, 73.146 Draped in the massive folds of his toga (say TOE- Doing Double Duty A Fashionable Face gah), this unknown Roman man stands as if to The box at Togatus' feet is filled with scrolls, or At the time Togatus was carved, Roman men did speak, holding a rolled-up scroll in his raised left rolled-up written documents, demonstrating his not wear beards. That changed when Hadrian hand. The title of the statue, Togatus (say toe- considerable education and knowledge. The box also (ruled 117 – 138), the first emperor to wear a GAH-tuss) means simply “toga-wearer.” Only adds structural support for the tremendous weight of Greek-style beard, made them fashionable. upper class Roman male citizens were eligible to marble drapery, preventing the statue from breaking Perhaps the waves of a short beard were added to wear the toga as a mark of social status and off at the ankles. Togatus’ originally clean-shaven face to keep up accomplishment. with the new style. Image = Detail of scroll box Image = Detail of Face

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Sarcophagus with Portrait Medallion, a Shepherd, and Two Lion Heads Roman, Imperial Period, 250 - 274 CE R. T. Miller Fund, 49.72 Carved as a coffin, this white marble At Front and Center sarcophagus (say sar-KOFF-ah-gus) originally The central section of the sarcophagus has several details and symbols that personalized it for the intended included a decorative marble lid, and was occupant. intended to house the earthly remains of an upper- • A round frame known as a clipeus (say clip- AY-us), holds a portrait of the deceased. He wears a toga, class Roman citizen. Whether it ever served that garment of the upper classes. His image was likely added after purchase of the sarcophagus from a purpose is unknown, but holes drilled into the workshop. back and left side indicate that it was probably • A shepherd, grasping a typical crooked staff, sits peacefully under a tree to represent the Roman vision of recycled to serve as a fountain or water trough. serenity in the afterlife. • The guardian of the flock, the shepherd's faithful dog sits attentively at his feet. • Perched on a rocky ledge above, a single sheep represents the flock. • Much of the front of this sarcophagus is covered in rows of S-curves. Historians call this type of decoration strigilation (say strih-jill-AY-shun) after the S-curve of the strigil, an ancient Greek tool.

“Handle” with Care At the Back: The Panoply Too Beautiful for Burial These lion heads and their ring “handles” are only On the otherwise unfinished back of the sarcophagus A carved Roman sarcophagus was made for show. decorative marble carvings, recalling an old appear two images of a panoply (say PAN-oh-plee), a Since Roman law prohibited cemeteries inside the tradition. In the Roman past, the lion heads might decorative arrangement of weapons. Behind two city, the main roads outside the city gates were have been made of bronze, still decorative but angled shields are two crossed spears, a horizontal ax lined with grave markers and monuments mounted with real ring handles for carrying at the middle, and a vertical double-headed ax which arranged in garden-like displays. lighter wooden coffins. appears at the top. Image = The ancient cemetery outside of the Image = Lion Head Image = Back side detail Roman city of Pompeii, along the Via Nocera. Collection Connection: Carved as a coffin, this white marble sarcophagus (say sar-KOFF-ah-gus) includes decorative details that recall an older tradition. The two carved lion heads and the ring “handles” in their mouths represent bronze mountings with real ring handles, fixed to the wooden coffins once used by well-to-do Roman citizens.

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Lion Head Medallion TOUR STOP Roman; Made in Caesarea, Palestine, 100 – 200 CE The C. Herbert Ocumpaugh Collection, 28.10 The open mouth on this molded bronze lion may Collection Connection: have enabled it to hold a ring-like handle. This bronze lion head, cast from a mold, may have once held a bronze ring in its mouth. The holes around The holes in the frame surrounding the head show the outer edge show where it was once fixed to a that it may once have been attached separately to wooden object, perhaps a coffin or shield. a shield or door as a boss, a raised, round decoration. Rings held by decorative lion-head medallions also served as handles for wooden coffins.

Fish TOUR STOP Roman; Made in Syria, 300 - 600 CE The C. Herbert Ocumpaugh Collection, 28.324 The rippling curves along its back, wide-open Real-Life Look-a-Like mouth, and popping eyes lend this small fish The glass Fish may be a copy of a real fish, perhaps a figure a spark of personality. Fashioned of molten Slender Goby, which lives in the Mediterranean Sea. glass, the fish was not a complete figure in itself, The Slender Goby swims near the bottom where it can but likely served as added decoration to a larger hunt small fish. They must be very small, as the vessel. Slender Goby is no bigger than this glass Fish!

Image = Slender Goby (Gobius geniporus)

MAG App Object Scripts: Europe 19th C 8/26/11 1

European Art of the 19th Century

Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor.

The Printseller’s Window Walter Goodman (British, 1838 - 1912), 1883 DIRECTORS AUDIO TOUR Marion Stratton Gould Fund, 98.75 VERBAL DESCRIPTION “TOUR” At first glance, this painting seems like a real-life A Victorian “Vanitas” What is trompe l’oeil? view into a shop window. Using the highly Like today’s antique shops, this window displays Trompe l’oeil (say tromp-LOY) is French for “fool detailed style of painting known as trompe l’oeil objects familiar to audiences of the Victorian Era the eye.” (say tromp-LOY), the artist has filled the space in the late 1800s; with paper prints and books, a variety of This ancient artistic tradition of hyper-realistic • prints made after well-known paintings collectible objects, and an assortment of painting features three-dimensional qualities and • cartes de visites, calling cards considered photographic calling cards known as cartes de detailed special effects, like this booklet hanging essential to proper society visites (say KART-deh-vee-ZEET), which hang "outside" the picture frame. The style was very reproductions of ancient Greek and Roman clothesline-style across the front. The printseller • popular at times, but also drew criticism for being a objects himself emerges through a small door at the demonstration of mere mechanical skill rather than back, allowing a glimpse of his shop behind. • fine pieces of decorative glass and porcelain artistic talent.

This display of luxury, taste, and craftsmanship When Walter Goodman displayed The recalls the artistic tradition of vanitas (say VAN- Printseller’s Window in a London art show in th ih-tass), a moral lesson especially popular in 17 1892, a newspaper reporter actually accused him of century Dutch art. Paintings featuring rich gluing real photographs to his painting! arrangements of silver and glass objects, musical instruments, flowers, sumptuous but perishable Image = detail of hanging booklet foods, and burning candles, served as decorative reminders of the temporary nature of wealth, beauty, and life itself.

Image = detail of shelf objects

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Explore the Objects About the Artist This shop window displays a wide variety of decorative objects. Walter Goodman How many of these objects can you find in the painting? Although artistically gifted, Walter Goodman was • A tall, etched, clear glass goblet, or wine glass only marginally successful as a painter and • A string of pearls ultimately relied on his extensive family for financial • An ancient Greek-style pitcher , or lekythos (say LEHK-ih-thohs), picturing a 4-horse chariot support. • A light blue porcelain plate, decorated with red flowers, containing a handful of coins or tokens • Two small books open to display illustrations Goodman came from a family of artists, including his • A green glass vase, with two handles mother Julia Salaman Goodman, who supported her family as a portrait painter. He studied at the • A magnifying glass Royal Academy in London, and then resided in • An oval miniature portrait of a gentleman in a blue coat Edinburgh before and after traveling in Italy, Spain, • A terracotta figure of Cupid, the young Roman god of love Cuba, and the United States. His paintings, including • A small armless statuette of a standing boy The Printseller’s Window, appeared in major British • A dark blue and white Wedgewood-style vase with a scene of classical figures exhibitions but Goodman died in obscurity, largely • A glass tankard, or mug, with a metal handle and lid forgotten until very recently, • A gold-rimmed porcelain teacup and saucer in a blue willow pattern • A framed photograph of John Ruskin (British, 1819 – 1900), watercolor artist and critic • A loose miniature photo of George Augustus Sala (British, 1828 – 1895), a popular writer, humorist, and critic MAG App Object Scripts: Europe 19th C 8/26/11 3

Explore the Prints slideshow Explore the prints “for sale” in The Printseller’s Window; most are based on real works of art. • Self-portrait in the Style of Rembrandt Sir Joshua Reynolds (British, 1723 - 1792), ca. 1775 Print based on the painting in the Royal Academy of Arts, London. • Santa Cecilia Carlo Dolci (Italian, 1616 - 1687), 1671. Print of painting in the Old Masters Gallery, State Art Collections, Dresden, Germany. • Albert and Nicholaas (The Artist’s Sons) Peter Paul Rubens (Flemish, 1577 - 1640) Print by Gustav Planer (German, 1818 - 1873), MAG 2008.48 . Copy of a painting in the National Art Galley, Vaduz, Liechtenstein. • Cornelius van der Geest Sir Anthony van Dyck (Flemish, 1599 - 1641), before 1620 Print based on the painting in the National Gallery, London. • “Horses and Riders” Unidentified / This print featuring horses and riders has yet to be identified. Do you recognize it? • “A Gentleman” Unidentified / This print featuring a seated man in a coat has yet to be identified. Do you recognize it? • “A Woman” Unidentified / This print featuring a woman wearing a long lace veil has yet to be identified. Do you recognize it? • “Cupid” Unidentified / This print featuring an image of the Roman god Cupid has yet to be identified. Do you recognize it? • “A Youth” Unidentified / This print featuring a youth in a landscape, dangling something into the edge of a pond, has yet to be identified. Do you recognize it? • “A Woman” Unidentified / This red ink print or red chalk drawing is partially covered by smaller prints. It features a standing woman in a long gown, and has yet to be identified. Do you recognize it?

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Explore the Photographs Explore the miniature portrait-photograph calling cards, or cartes de visites, of these Victorian artists, contemporaries of Walter Goodman. While he may not have known them personally, he was • Sir Lawrence Alma-Tadema (British, 1836 – 1912) certainly familiar with their work. The most successful painter of the Victorian era for • Mariano Fortuny y Marsal (Spanish, 1838 – 1874) his distinctive, elaborate paintings of beautiful A painter known for scenes of North Africa as well as small, gemlike paintings of aristocrats. people in classical settings. As attitudes changed, • William Powell Frith (British, 1819 – 1909) his paintings became increasingly unpopular, but His paintings of modern-life subjects were very popular; he sold a large number of engravings of his visions of the ancient world influenced many these works. historical-drama films. • Gustave Doré (French, 1832 – 1883) • Thomas Landseer (British, 1795 – 1880) The most popular and successful French book illustrator of the mid 1800s. At one time he One member of a famous family of British artists, employed more than forty employees to carve the woodblocks used to create his prints. he produced many original etchings featuring • John Everett Millais (British, 1829 – 1896) animals and birds. However, he spent much of his One of three founding members of the Pre-Raphaelite Brotherhood. The group rejected modern art career making prints of his brother Edwin’s in favor of a simpler Medieval style of painting, before the influence of the Renaissance master drawings and paintings. Raphael. • W. Calder Marshall (British, 1813 – 1894) • Thomas Webster, British (1800 – 1886) Scottish sculptor, studied in Edinburgh, London, Known for his genre paintings, often with children as subjects, depicting simple and humorous and Rome. He specialized in Neo-classical works incidents from everyday life. He became the leading figure in the Cranbrook Colony of artists in and Classical subjects. Kent. • Mihály von Munkácsy (Hungarian, 1844 – 1900) • Rosa Bonheur (French, 1822 – 1899) Born Michael (Michel) Leo Lieb, orphaned young The foremost animalier, or animal painter of the period. Trained in art with her father, whose and apprenticed to a carpenter. Settled in Paris and radical political and social views of gender and class equality influenced her to cut her hair short earned an international reputation with his genre and dress as a male. pictures and large scale biblical paintings. • Lord Frederick Leighton (British, 1830 – 1896) Hugely successful and popular Victorian painter and sculptor of classical mythology, historical, or biblical subject matter. The first English painter to be given a noble title, he was made Baron Leighton, of Stretton in the County of Shropshire but died the next day. • Elizabeth Thompson, Lady Butler (British, 1846 – 1933) Popular and well-known in Britain for her carefully crafted, accurate military paintings. However, fell out of favor when the public desired more patriotic pictures that glorified British victories.

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Audio Description will be part of a separate “tour” for the visually impaired… You are looking at The Printseller’s Window, a large oil on canvas by British artist Walter Goodman. The Printseller’s Window, painted around 1883, is 52 inches high by 44 inches wide and is in a simple dark wood frame. This hyper-realistic painting portrays a cluttered display window of a printseller’s shop seen as if you were standing on the street peering in through the window frame. An older man, who wears wire-rimmed spectacles and has a thick, yellow- gray beard and mustache, appears toward the back on the right side of the painting. You see him from the waist up, standing in an opening at the back of the display window, staring intently at the small statue of a reclining figure that he holds in his hands. Starting from the foreground of the painting, the floor of the display window is covered with etchings and lithographic prints of various sizes. Two open books and numerous smaller prints are arranged on top of these prints. In the center, a turquoise and brown pottery dish, partly filled with copper and silver coins, rests on top of one stack of prints. On the far right a circular, rose-colored image of a female figure contrasts with the other black and white prints. In the middle-ground of the painting, raised about a foot above the floor of the display window, a narrow wooden shelf extends across the width of the window. The shelf is lined with objects, which we describe here from left to right. The first object on our left is a green glass tankard with a hinged, pewter lid. Next, we see a white and blue, gold-rimmed teacup and saucer. To the right of the teacup is a slim terracotta-colored Greek vase that is twice as tall as the teacup. In the center of the shelf is a portrait of a bearded gentleman in a rustic frame. A large magnifying glass is propped up against the left side of the frame, enlarging a detail. Crowded next to the frame and only half as high, is a short glass vase. It is partly covered by a small black and white photograph leaning against it. A strand of pearls, which is wrapped around the base of the vase, runs behind the photograph. Two short loops of the pearl necklace dangle off the edge of the shelf. Behind the pearls and to the right is a clear etched glass vase. A miniature oval portrait is perched between this and a small teal-colored vase with raised white designs. This vase is similar in shape to the terracotta vase on the left. The last object on this shelf is a statue of an armless nude child. If you look about 15 inches above the shelf, a string is stretched across the center of the window. A dozen small photographic portraits called cartes-de- visites are clipped to the string. Ten are portraits of men and two of women. All are in formal poses. Above the line of cards, on the left side of the window, a booklet with curled paper pages hangs on a string from a nail. A burgundy colored curtain is draped three-quarters of the way across the top and down the right side of the window. The background color of the interior walls of the display window are green; these are also covered with prints. The man seen through the opening in the back wall appears to be the printseller because he is standing inside the shop; prints and small objects can be seen in the distance behind him.

Walter Goodman, a Victorian artist, lived from 1838 to 1912. The Printseller’s Window was purchased by the Memorial Art Gallery thanks to the Marion Stratton Gould Fund.

Version 1-3-2011 The verbal descriptions were written by Amy Mednick and edited by Lisa Helen Hoffman, consultant, with additional input from Rene LaTorre of the Association for the Blind and Visually Impaired-Goodwill. Thanks to trained audio describer Anita Nicoletta who volunteered to record these descriptions, and to Ruth Phinney who generously donated the recording and production time at WXXI Reachout Radio.

This project was supported in part with funds from the Elizabeth L. and Donald M. Cohn Endowment of the Memorial Art Gallery and the John Steuart Curry Foundation. http://mag.rochester.edu/plugins/audio/AudioDescriptions_VisuallyImpaired/06PrintsellersWindow.mp3

MAG App Object Scripts: 1913 Foyer 8/26/11 1

American Art of the 20th Century

Only a single work of American art appears on this version of the app, but be sure to visit the rest of the American collection on the 1st floor.

Image = zoom view of Statue Image = The Hall of Casts, ca. 1914

MAG App Object Scripts: 1913 Foyer 8/26/11 2

European Art of the 19th Century

Only a single work of art from this period appears on this version of the app, but look for additional works of later European art in other areas of the 2nd Floor.

Image = detail of shelf objects

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Walter Goodman, a Victorian artist, lived from 1838 to 1912. The Printseller’s Window was purchased by the Memorial Art Gallery thanks to the Marion Stratton Gould Fund.

MAG App Object Scripts: Islamic + AAC 8/30/11 1

Islamic Art

Explore a selection of decorative and functional ceramics, Medieval manuscripts, and ritual objects representing the spread of the Islamic faith and its art forms through the Middle East, Central Asia, and North Africa.

Kubachi Ware Tile Iranian, Persian Empire, 16th century Gift of Mrs. Cady Hews Allen, 21.2 Painted with long-necked herons and flowering East meets West plants in blue and black, this large ceramic This tile was produced in an Iranian or Afghan Kubachi Ware (say koo-BAH-chee) tile is pottery workshop, decorated to western Islamic decorative enough to stand on its own. However, standards, using colors influenced by Chinese Ming it was most likely part of a set of tiles that joined Dynasty blue-and-white porcelain. It represents the to form a large mural, mounted to cover one wall exchanges of art and culture enabled by the Silk of a room. Such scenes of fanciful gardens, full of Road trade networks. real and imaginary plant and animal life, commonly appear in Islamic architecture. Image = zoom

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Calligraphic Frieze North Indian, Delhi Sultanate Period (1206 – 1526), 1500s AUDIO—HEAR THE VERSE??? Marie Adelaide Devine Fund, 2009.8 This sandstone fragment formed part of a carved What Does It Say? The “Throne Verse” architectural frieze (say freez), or decorative This frieze fragment carries only a small part of the Surah 2:255 horizontal band. It likely embellished an Islamic “Throne Verse,” from Surah (chapter) 2:255 of the God. There is no deity but Him, the living, the shrine or tomb in a mosque complex in north- Qur’an. This segment reads, eternal! Drowsiness does not overtake Him, nor

central India. sleep. To Him belongs what is in the heavens “To Him belongs what is in the heavens and what is and what is on the earth. No one may intercede The carving is a popular quotation from the on earth. No one may intercede…” with Him save by His permission. He knows what Qur’an, known as the “Throne Verse,” written in a is before them, and what is behind them, yet they decorative Arabic script. Like a font or typeface Image = Zoom comprehend nothing of His knowledge, save as He today, the shape of the script helps to identify its wills. His throne encompasses the heavens and the date and origins. This is naskh script, a slightly earth, and He does not weary of preserving them. angular form widely used for architectural He is the sublime, the magnificent! carvings, as well as written texts and painted ornamentation, during the period when Islam dominated northern India. An Indian Sandstone Tomb What Is Calligraphy? Decorative patterns and verses from the Qur'an, The word calligraphy (say cah-LIH-graf-ee) comes What is Qur’an? carved from local red sandstone, covered entire from the Greek for "beautiful writing." From below… walls of buildings in Indian mosque complexes. The MAG's fragment does not come from this Calligraphy is a form of visual art that can be mosque, but would have been part of a similar described simply as the art of fancy lettering. The site. rich tradition of Islamic decorative calligraphy, often incorporating verses from scripture or phrases from Image = (context) prayers, developed from the Islamic belief that Shrine of Shams-ud-din Iltutmish, ca. 1235 representing the human form, particularly in religious Complex of the Quwwat-ul-Islam Mosque, art, is a sin against God. (The Great Mosque of Delhi) New Delhi, India Image = detail, calligraphic décor from Qur’an

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Section from a Qur'an endowed by Sultan Qansuh al-Ghawri Egyptian, Mamluk Sultanate Period (1250 – 1517) , late 15th century Marie Adelaide Devine Fund, 2008.69 This delicate work of art is very sensitive to light. What is the Qur’an? Who was Sultan Qansuh al-Ghawri? In order to protect it, the pages on view are The Qur’an (sometimes spelled “Koran”) is the holy Qansuh al-Ghawri ruled as Sultan of Islamic periodically changed; thus the image on this app book at the heart of the Islamic religion. Egypt from 1501 to 1516. and the artwork in the case may not “match.” In Arabic, the word qur’an means “recitation,” As the second-to-last ruler of the Mamluks in

reflecting the central Muslim belief that the prophet Egypt, he saw the end of a nearly 300 year The gold-embellished script of this 33-page book Muhammed (say moo-HAHM-ehd) heard God’s dynasty. His own reign, begun at the age of 60, represents only one section, or juz’ of the Qur’an words as recited orally in Arabic by the Angel was marked by heavy taxes on the populace to (say koor-AHN), the Islamic holy book. It was Gabriel. Although written copies and translations are support a lavish royal court, civic improvements created in the late 1400s, sponsored by the Islamic necessary for learning and documentation, Muslims including watercourses and fortifications, and ruler of Egypt, Sultan Qansuh al-Ghawri. When it believe that the perfection of God’s words can only be beautification projects at Mecca. An invasion by was completed, the Sultan presented the Qur’an in preserved by reciting the scripture in the original the Ottoman Turks cost al-Ghawri his life on the 1503 to the madrasah (say mah-DRAH-sah), the Arabic. battlefield in 1516. Islamic religious and law school, located near his

mosque in Cairo. Image = engraving of al-Ghawri

“Beautiful Writing” This Qur'an is a manuscript, which means that each page was written in elaborate Arabic calligraphy (say cah-LIH-graf-ee) and decorated entirely by hand. Calligraphy, Greek for "beautiful writing," is a rich tradition in Islamic arts, particularly in religious art which forbids representing the human form. • The artist used a simple cursive naskh script in black ink for the text of the verses. • A gold rosette marks the start of each verse. • In the margins, larger groups of verses are marked by gold thuluth script embellished with red and black. • Surah, or chapter, headings appear in lines of large gold thuluth script. • Red lines mark the margins of the page.

Image = open book view MAG App Object Scripts: Islamic + AAC 8/30/11 4

Leather-bound Leaves Official Dedication Who were the Mamluks? This section of the Qur’an is still bound in its The sultan, or ruler, of Egypt presented a multi- The Mamluks (say MAHM-looks) are named original leather cover with gold embellishments. volume Qur’an to the Islamic religious and law school from an Arabic word for “slave.” The entire Qur’an is divided into 30 equal sections, located near his mosque. The first page of this volume They began as young slave-soldiers, captured known as ajiza (Arabic for “parts”), so the other 29 is the dedication page, with official inscriptions and during the spread of Islam in the 800s CE, books that contained the rest of the Qur’an would seals. converted to Islam, and trained as army recruits. likely have had similar binding. • This stamp is a later addition to the page, the seal of In time, the Mamluks used their position to a later Ottoman owner. claim political power for themselves. While Image = front cover • The section title, Juz’ 26, appears in silver thuluth still considered slaves, the Mamluks became script decorated in blue and outlined in a gold frame. known as the “true guardians of Islam,” earning • The inscription includes the dedication date of July wealth, political authority, and religious honors. 20, 1503 (Muharram AH 909 in the Islamic

calendar). Image = "Mamluk, in typical attire," 1799 • A large medallion in gold, blue, and copper, is possibly a seal of the Sultan Qansuh al-Ghawri, the patron who paid for and dedicated the Qur’an. • This small but intricate rosette marks the beginning of a new section, or juz’.

Image = Dedication page

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Sgraffiato Ware Vessel Sharaf al-Abawani (Egyptian, active 1293 – 1341) Anonymous Gift, 51.350 Shaped like an oversized footed cup or chalice Powerful Patronage About the Artist: (say CHAH-liss), this pottery vessel likely served The interior of the vessel contains an inscription and Sharaf al-Abawani a ritual or display role. The large symbols and symbols, proving that the artist produced works for The outer inscription reads: inscriptions in Arabic date it to the Mamluk some of the most powerful Mamluk court officials. “The work of the poor, humble servant Sharaf al- period of Islamic rule in Egypt. It may have been • The inscription translates roughly to read: Abawani, the servant of all humanity.” a costly gift, or an award for services rendered, From the things made by order of the most from the sultan, ruler in Egypt during this period. magnificent, the honored, the well served, Badr al- Many complete ceramic vessels bearing the name Din(?)... of Sharaf al-Abawani, as well as fragments, have • This symbol appears multiple times. It may been found in the area of the old Egyptian capital represent a high governmental rank or office, city of Fustat (say FOO-staht), near present-day perhaps the jawish, or badge of a military official Cairo. However, almost nothing is known of him. known as “The Bearer of the Caliph’s Mace." • This symbol may consist of a triangular stand Image = exterior view holding a pillow or saddle, on top of which is a weapon like a sword or club.

Image = interior view How was it made? Who were the Mamluks? “Scratched” Ware The Mamluks (say MAHM-looks) are named from This large, ceremonial vessel is decorated with a an Arabic word for “slave.” technique known as sgraffiato (say sgrah-fee-AH- They began as young slave-soldiers, captured during toe), which is Italian for “scratched.” the spread of Islam in the 800s CE, converted to After being formed and dried, the pottery was Islam, and trained as army recruits. In time, the covered with a layer of slip, or watered-down clay Mamluks used their position to claim political power of a different color. By scratching down through for themselves. While still considered slaves, the the layer of slip, the artist produced a design by Mamluks became known as the “true guardians of exposing the contrasting color of the vessel Islam,” earning wealth, political authority, and underneath. The application of lead glazes and religious honors. firing at high temperatures resulted in a distinctive effect. Image = "Mamluk, in typical attire," 1799 MAG App Object Scripts: Islamic + AAC 8/30/11 6

Leaf from a Manuscript of Poetry by Umar Ibn al-Farid Iranian, Persian Empire, 1600 – 1699 CE I know this is going off-view, but had it written up and done before I found out… The C. Herbert Ocumpaugh Collection, 28.317 as it is 2sided, I thought it was going to be flipped over. Never mind. / Good template for other mss??? The rarely-seen design of this Islamic manuscript A Collector’s Item Who was Umar Ibn al-Farid? leaf, or page, incorporates verses from two This decorative double-sided sheet was once part (say OO-mahr EE-bihn ahl-fah-REED) different poems onto a single page. The unknown of a full manuscript, a book written and (Egyptian, 1181- 1235) artist arranged the verses in decorative shapes and decorated entirely by hand. Bound manuscripts frames, wrote the lines using elegant Arabic were often broken up so the leaves could be sold Both poems on this page are the works of Umar Ibn calligraphy (say cah-LIH-graf-ee), and individually to collectors. al-Farid, one of the most beloved poets in Islamic embellished the page with gold leaf and tradition. This richly decorated manuscript leaf, watercolors. A Persian translation of the verses Image = (zoom) created nearly 400 years after the poet lived, reflects appears in red ink below each line. the continued popularity of al-Farid’s poems.

Born in Cairo, al-Farid moved to Mecca to study Islamic spiritualism and Arabic literature. He became AUDIO—HEAR THE POEM? a master of the Arabic poetic tradition, writing long expressive verses, full of symbolism and colorful imagery, which describe the loving relationship between God, the divine creator, and his creation.

MAG App Object Scripts: Islamic + AAC 8/30/11 7

What Is Calligraphy? “Wine Ode” "Ode Rhyming in T" These spaces each contain a verse from one Verses from Umar Ibn al-Farid’s poem al-Dālīyah, or The word calligraphy (say cah-LIH-graf-ee) section of Umar Ibn al-Farid’s poem al- "Ode Rhyming in T," appear in these spaces. The comes from the Greek for "beautiful writing." Khāmrīyah, or “Wine Ode.” Alcohol is forbidden poem describes a difficult caravan journey through the

Calligraphy is a form of visual art that can be by Islam, so the poet carefully points out that the desert, using the desire of romantic love as a described simply as the art of fancy lettering. The poem refers to the effects of wine as a metaphor, metaphor, or symbolic image, for the spiritual desire rich tradition of Islamic decorative calligraphy, or symbolic image, for the potent power of God’s for God’s love. often incorporating verses from scripture or love. phrases from prayers, developed from the Islamic Image = highlighted smaller boxes belief that representing the human form, Image = highlighted “clouds” and large boxes particularly in religious art, is a sin against God.

Image = detail, calligraphic décor from Qur’an

READ A TRANSLATION: "Ode Rhyming in T" Ibn al-Fāriḍ's al-Ḍālīyah, or "Ode Rhyming in T,” is sometimes referred to as the Poem of the Sufi Way. It is one of the longest poems in Arabic literature. The two sides of this leaf contain only verses 5 - 16 of the poem. (5) Fatigue has whittled [the camels] away and loosened their nose rings -- let them quench themselves on the depressions' panic grass. (6) Rapture will wear them away if you do not water them, so give them a drink on the run amid the lowland's large pools, (7) And race with them but spare them, for they are your means of winning the best of valleys. (8) May God lengthen your life! If you pass by Yanbu's valley, then Dahnā, then Badr--setting out early— (9) And journey to Naqā, then to the wetlands of Waddān, to Rābigh with well-watered pools, (10) And cross the stony tacks aiming for the tents of Qudayd, the dwellings of the glorious ones, (11) And draw near to Khulayṣ, then Usfān, and Marr al-Ẓahrān, the Bedouins' meeting place, (12) And arrive to drink at Jumūm, then Qaṣr and Daknā'-- one and all watering holes for those coming for drink (13) And come to Tan īm, then to Zāhir, radiant with blossoms to its mountain tops, (14) And cross over to Hajūn and pass through, choosing to visit the shrines of the saints, (15) And reach the tents, then give my greetings carefully to the dear Arabs of that assembly. (16) Be kind, and recall to them a part of my passion, never to be exhausted.

Translation by Th. Emil Homerin, Umar Ibn al-Fārid: Sufi Verse, Saintly Life (New York, 2001), 49-50. MAG App Object Scripts: Islamic + AAC 8/30/11 8

READ A TRANSLATION: "Wine Ode" The two sides of this leaf contain only verses 5 – 16 from Ibn al-Fāriḍ's al-Khāmrīyah, or "Wine Ode." These verses describe the miraculous effects of the love of God, symbolized by wine, including the powers of its name. (16) Could the wizard write the letters of its name on the brow of one struck by the jinn, the tracings would cure and cleanse him, (17) And were its name inscribed upon the army's standard, all beneath that banner would fall drunk from the sign. (18) It refines the morals of the tavern mates and guides the irresolute to resolution's path; (19) He who never knew munificence is generous, while one lacking in forbearance bears the rage of anger, (20) And could the stupid one among the folk win a kiss from its strainer, he would sense the hidden sense of its fine qualities. (21) They say to me: "Do describe it, for you know its character well!" Indeed, I have word of its attributes.

Translation by Th. Emil Homerin, Umar Ibn al-Fārid: Sufi Verse, Saintly Life (New York, 2001).

MAG App Object Scripts: Italian Renaissance 11/22/11 1

Italian Renaissance Art

The period from about 1400 to 1600 in Italy is now known as the Renaissance. It featured a flowering of culture and art that looked back on the classical arts of Rome and Greece.

Portrait of a Boy of the Bracciforte Family of Piacenza Girolamo Mazzola Bedoli (Italian, ca. 1505 - ca. 1569), ca. 1540 Marion Stratton Gould Fund, 76.13 This painting is a full-length (head-to-toe) portrait Future Fame and Fortune “Mine by Right” of a young boy dressed in an elaborate outfit Every detail of this portrait is a visual celebration The gold medallion in the boy’s right hand is attached embroidered with gold trim. He poses casually in of wealth and refinement, identifying this boy as a to a gold neklace chain. It bears the Bracciforte coat- a richly furnished room, between a large wooden sophisticated young nobleman. The very existence of-arms, or family symbol: an arm, wearing armor, chair with gold fringe and a small table holding a of a painted portrait demonstrates the family’s holding up a sword. The motto reads IVRE MEO, book, a flute, and a gold statue. In his right hand high expectations for his future, but the boy’s Latin for "Mine by Right." he displays a small gold medal bearing a coat of name remains unknown. arms, or family symbol, of the Bracciforte (say Image = Zoom detail of medallion brach-i-FOR-tay) family of Piacenza, in northern Image = detail of boy Italy. About the Artist Every Detail Counts hot-spots Girolamo Mazzola Bedoli The numerous items included in the portrait serve to demonstrate the young boy’s proper education, cultivated tastes, and promising future. Bedoli made a name for himself as a portrait • The flute indicates his formal training in music. painter serving the noble families of northern • The books demonstrate that the boy is well-educated, and that his family is wealthy enough to own books. Italy, particularly the Farnese (say far-NAY-zee) • This gold statue is an allegorical figure representing Fame; by blowing long thin trumpets, Fame family of Parma. announces this boy’s future life of greatness.

His life and work included close associations with • This gold medallion bears a coat of arms, or family symbol. It identifies the boy as a member of the Parmigianino (say par-MIJ-ee-ah-NEE-noh), a Bracciforte family, prominent citizens of Piacenza. greatly popular artist. After Parmigianino’s • The fancy, gold-trimmed purse at his belt emphasizes his family's wealth. untimely death, Bedoli completed many of his • The gold-hilted sword demonstrates that the boy has received training with this aristocratic weapon. unfinished commissions. • The Dantesca chair (say dan-TESS-kah) was a luxurious new style of portable, folding arm chair. It has a carved wooden frame with seat and back rests of fabric or leather. • The small table has intricately carved feet made to resemble the paws of an animal, a popular style for home furnishings. MAG App Object Scripts: Italian Renaissance 11/22/11 2

RenaissanceAllegory of Hearing Fashio ns hot-spots TheItalian, “Bracciforte after 1581 B oy” wears an elegant, highly fashionable costume suitable to his social status. Gift• Fabric: of Lester ivory-colored Slocum, Jr. brocade,and his sister, proba Mrs.bly made Joyce of S. expensive DiStasio, silk, 98.21 tr immed with lace and buttons of Thisgold. highly-detailed panel painting is an allegory; Prints and Paintings Beauty and a Beast? an• Doublet:image meant a quilted, to represen snug-fittingt an idea. jacket, It has buttone been d up theDuring front, the with Renaissance, a short peplum printmakers, or skirt, produced hanging A stag, or male deer, lies quietly under the trees to the variouslybelow the identified waist as an allegory of Music or of affordable, smaller-scale copies of popular left. Has he been drawn out of the forest, his beastly Sound,• Coat: but actually has recently a longer been sleeveless confirmed vest, as witan h high collar.paintings. However, in this case the painting is a nature charmed by the young woman’s music? Allegory• Flat cap: of Hearing fabric hat,. A probablyyoung woman also of sits silk, in aw ith softcopy crown of andthis moderatelyprint, itself broadbased brim;on a print embellished series of Perhaps, but he also serves a symbolic purpose, as fantasticwith feathers wooded landscape, surrounded by musical The Five Senses designed by Maarten de Vos stags were believed to have an exceptional sense of instruments• Joined Hose: commonly likely playedmade of during silk; todaythe European we migh t c(Flemish,all them tights. 1532 - 1603). hearing. Renaissance.• Belt: proba bly leather with a gold buckle; supports an elegant purse and a gold-hilted sword. Image = Auditus (Hearing), Raphael Sadeler • Paned Trunk Hose: short breeches made from panes, or fabric bands, and padded to swell out at (Flemish, 1560 -1632), 1581. the bottom edge.

• Shoes: flat leather slippers, slashed to allow puffs of fabric to show through the cuts. Renaissance Instruments Seated beneath a tree at center, a young woman represents a personification of Music. She is surrounded by a variety of European musical instruments commonly played during the Renaissance. • Lute: a guitar-like stringed instrument with a long neck and a deep rounded body. • Viola da mano: this very large stringed instrument may be a deep, contrabass version of a popular ancestor to the guitar. • Shawm: an early double-reed woodwind instrument, like the modern oboe or bassoon; the length may identify this as an alto shawm. • Zink: a curved wind instrument with finger holes • Lyre: a small harp, but picked with a plectrum rather than with the fingers. • A case comprising a number of tubes to hold recorders or flutes • An assortment of music books • Bagpipe: one or more reed pipes sounded by an attached skin bag, which is filled with air by the pipes player. • Folded trumpet: based on the early straight horn, but similar to trumpets of today, with the length folded over and over between bell and mouthpiece. • Cittern: a 3-stringed, flat-backed guitar-like instrument, easier to play, more portable, and cheaper to construct than the lute.

MAG App Object Scripts: Italian Renaissance 11/22/11 3

The Conversion of St. Paul Francesco Ubertini (Italian, 1494? - 1557), 1530 - 1535 Marion Stratton Gould Fund, 54.2 This chaotic scene is full of lively horses, Who was St. Paul? Mimic, Modify and Merge gesturing soldiers, and dazzling colors, all against Saint Paul, a Jewish citizen of Rome, was named Ubertini's paintings became famous for his a backdrop of towering rock formations. The Saul at birth. One of the strong non-believers in "borrowings." He often mimicked figures or focus of the action is in the center foreground, Jesus and his teachings, Saul worked hard to arrangements from other well-known works of art, where a white horse has collapsed to its knees. persecute and arrest Christians. modified them slightly, and then merged them into his The rider is Saint Paul, dressed in deep blue armor own paintings. topped by a brilliant red cloak. He gazes upward One day, while travelling from Jerusalem to to the top right corner of the painting, where the Damascus, Saul was struck blind by a bright ray As just one example, find the figure of God in MAG's clouds part to reveal the bearded figure of God of light, and heard the voice of God speaking to painting by Ubertini, in the sky at upper right. Scholars directing a ray of light down toward Paul. him. His fellow travelers led him into Damascus, believe that Ubertini was inspired by the famous image where a follower of Jesus restored his sight. of God shown below. It is the work of Michelangelo, from the Sistine Chapel ceiling in Rome. Saul then became a devout Christian, changed his name to Paul, and preached widely [picture]

throughout Greece and the eastern Roman Compare this image with the figure of God in Empire. According to Christian tradition he was Ubertini's painting. Do you see a similarity in the two arrested and sent to Rome, where he was figures? executed with a sword out of respect for his Roman citizenship. Image = Creation of the Sun and Moon Michelangelo (Italian, 1475 - 1564), 1508-12. Image = detail of Paul Sistine Chapel, Vatican, Rome. Photo from http://commons.wikimedia.org/wiki/File: Michelangelo_-_Sistine_chapel_ceiling_-_bay_8.jp MAG App Object Scripts: Italian Renaissance 11/22/11 4

Saint Paul’s Story hot-spots About the Artist It’s all in the Composition hot-spots Francesco Ubertini The artist directs our attention to Saint Paul, the subject Ubertini studied and worked with some of the of the painting, through a variety of methods in the great artists of the late Italian Renaissance. In composition, or overall arrangement. 1540, Ubertini joined the official artists serving • Paul’s placement at the very front and center of the the nobles in the court of Duke Cosimo I de' painting makes him one of the largest figures in the Medici (ruled 1537 - 1574), where his art gained painting. great favor. • Many of the figures turn their heads in Saint Paul’s direction, subtly encouraging us to do the same. Ubertini developed his own distinct style by • Linear elements like spears, edges of cliffs, and the borrowing figures, backgrounds, and patterns ray of light from heaven point towards Paul. from famous paintings and prints by other Italian, • The colors of the painting are more dull and gray- German, and Dutch artists, making slight changes blue at the top, becoming gradually brighter and high- and adding bright colors. His paintings became “I contrast towards the bottom. Spy”-style games for the nobles, who attempted to demonstrate their own artistic knowledge by recognizing the borrowings. Portrait of a Caesar TOUR STOP / COLL CONN Circle of Gregorio di Lorenzo (Italian, active 1461 -1473), ca. 1470 - ca. 1500 Given in memory of Inez D'Amanda Barnell by her friends, 65.8 Carved from marble in relief, or shallow carving About the Artist into a surface, and fitted into a gilt wooden frame, Circle of Gregorio di Lorenzo this portrait displays a man in profile. He wears decorative armor in the style of ancient Rome, with The artist did not sign his finished work. In order to identify the artist, scholars closely examined this lion heads at the shoulder. His head is crowned sculpture, looking for similar details in other artworks.

with a wreath, the ends of the strings waving at the Based on their findings, experts attribute this sculpture to the School of Gregorio di Lorenzo. This means back of his neck. that the sculpture may be the work of Lorenzo himself in combination with students or assistants, or the work of another artist who studied or copied Lorenzo’s style. Power in Profile Long mistaken for a Corsini family portrait, this Gregorio di Lorenzo studied in Florence with Desiderio da Settignano, the sculptor of the Medici’s sculpture copies an imaginary portrait of one of the original 12 Caesars portrait series. Lorenzo himself became an independent master sculptor about 1455. 12 Caesars, the first emperors of Rome. The His travels to other Italian and European courts contributed to the spread of Florentine sculptural powerful Medici family of Florence commissioned influences. the original "Caesar" series, possibly as a comment on their own political dynasty. MAG App Object Scripts: Italian Renaissance 11/22/11 5

MAG App Object scripts: Medieval Europe 11/22/11 1

Medieval Art

The period from about 1100 to 1400 in Europe is known as the Medieval Period, or the Middle Ages. Previously thought of as a "dark age" of lost knowledge, disease, and warfare, the period is now recognized for its own remarkable and distinctive arts, many supported by the Catholic church.

Châsse with Scenes from the Life of St. Stephen French; Made in Limoges, 1220 - 1230 R. T. Miller Fund, 49.20 This box or casket in the shape of a miniature Who was St. Stephen? Colorful Champlevé building or tomb is known as a châsse (say The story of Saint Stephen appears in the New These colorful designs are created by champlevé SHASS). It is a type of reliquary (say REHL-ih- Testament book of Acts 6:1-82. (say SHAHMP-leh-VAY). Grooves carved into the kwair-ee), made to house remains or artifacts metal surface, or wires soldered on to make “walls,” Jesus’ Apostles chose Stephen to be a deacon, associated with a Christian saint. The images on form spaces that are filled with melted glass-like responsible for distributing Christian funds to this châsse depict the death of Saint Stephen, the enamels. The enamel cools to produce a jewel-like the poor. The enemies of the early Christians, first Christian martyr (killed for his faith). effect. angered by his preaching, accused Stephen of Stephen is also the patron saint of the cathedral of blasphemy, or disrespectful speech. He was Limoges, France, where this châsse was likely Image = detail of front (zoom) tried and condemned to death by stoning, created. becoming the first Christian saint to die for his

beliefs. MAG App Object scripts: Medieval Europe 11/22/11 2

Death and Reward hot-spots Open at the Front Angels on the Side The back of the châsse, including the lid, depicts The front is decorated with a trellis and flower Each side features a winged angel, holding a book in the scene of Saint Stephen's death and spiritual design in gold and colored enamels. The his left hand. The right hand is raised in a sign of reward for his faith. hinged lid has a small latch that snaps into blessing. Notice how The halo around the angel's • One side of the handle ends in the shape of a place inside the front panel. Although created head and the background designs are filled with closed human fist. to hold a relic, or holy object, related to St. colored enamels, while the angel himself is "carved" • One side of the handle ends in the shape of an animal's head. Stephen, it is now empty. into the gold surface. • Enameled flower-like elements decorate the background of the scene. Image = front view, lid open Image = side view • The soul of Saint Stephen, carried by two angels, rises up through the clouds to heaven. • Stephen kneels on the ground before his attackers, while stones rain down around him. • One of Stephen's accusers approaches, a stone ready in his raised right hand.

Image = back view Fragment from the Tomb Arcade of Philip the Bold Jean de Marville (Flemish, d. 1389) and Claus Sluter (Netherlandish, d. 1406) , ca. 1384 - 1390 R. T. Miller Fund, 49.51 This marble fragment is an example of the Gothic Tomb of Philip the Bold Mourners in Procession style of late Medieval church architecture, in This fragment formed part of a miniature arcade, The arcade surrounding the base of the tomb miniature. Three slender columns, two of which rows of columns joined by arches. The arcade sheltered pairs of draped mourning figures known are attached to sturdier pier structures, join at the surrounded the base of an elaborate tomb created as pleurants (say ploor-AHNT). They represent the top by ornate pointed arches to define a small for Philip the Bold (1342 - 1404), the powerful relatives, courtiers, priests, and monks at Philip’s corner niche. Above the arches, decorative floral Duke of Burgundy. funeral, walking in a somber procession. motifs continue upwards to frame a second story of tiny columns, which support a flat topped During the French Revolution, the tomb was Image = reconstruction view, detail “roof.” dismantled and placed in storage. Over time some pieces became damaged, lost, or sold. The complete tomb, reconstructed using reclaimed and replica fragments, is displayed in the former duke’s palace, now the Musée des Beaux-Arts in Dijon, France.

MAG App Object scripts: Medieval Europe 11/22/11 3

The Gothic Style About the Artists One of the hallmarks of the Gothic Style in The tomb of Philip the Bold was the work of three different artists. European architecture of this period is the pointed Jean de Marville arch, which allowed buildings to rise higher with (Flemish, active 1366 - 1389) less weight. Rows of arched windows, covered Marville, as the official court sculptor for Philip the Bold, designed the entire tomb. He also carved the with decorative ivy and traces of gilding, make arcade, including this fragment. Marville worked on the tomb project from 1381 until his death in this small archway slender but ornate. 1389.

* * * * * * * * * * ** * Image = detail of fragment arches… Claus Sluter (Netherlandish, 1360 - ca. 1406)

As Marville's primary workshop assistant, Sluter took over the tomb project and the position of court sculptor after Marville's death. Sluter is recognized today as one of the greatest late Medieval sculptors. After Sluter’s death, his nephew and principal assistant Claus de Werve (active 1396 -1439) finally completed the tomb project in 1414, ten years after Duke Philip’s death.

MAG App Object scripts: Medieval Europe 11/22/11 4

Console with Doubting Thomas DIRECTOR’S TOUR French; Made in the Loire Valley, early 1200s R. T. Miller Fund, 49.76 The New Testament Gospel of John describes A Story in One Scene hot-spots how, three days following his death and burial, The sculptor who created this stone carving incorporated gestures and symbols to tell this story in a Jesus rose from the dead and appeared to some of single scene. Notice how the figures in this scene are carved away from the background so deeply that his followers. One, called Thomas, was not they are almost completely three-dimensional. present at this appearance, but said that he would • The halo over Jesus' head, marking his divine status, bears the sign of the cross, instrument of his not believe until he saw Jesus with his own eyes. death. • Jesus pulls aside his robe to display the wound in his side, caused by the spear of a Roman soldier. A week later, Jesus reappeared to his followers. • Jesus once held a tall staff with a cross at the top, now broken, which symbolized His victory over Thomas, no longer doubting, knelt and stretched death. out a finger to touch the wound in Jesus' side. • Thomas, whose head is missing, kneels at Jesus’ right and stretches out a hand to touch the wound. Jesus said to him, “Because you have seen me, • Peter, the first of Jesus’ Apostles, carries a huge key as a symbol of Jesus’ passing to him “the keys of you have believed. Blessed are those who have not the kingdom.” seen, and have believed.” • Mary Magdalene, one of Jesus' most devoted followers, was with him at his death and burial. She is also the first to have seen Jesus after he rose from the dead. DIDN’T KNOW THAT WAS HER!! • Another of Jesus' Apostles watches the meeting between Jesus and Thomas.

What is a console? Console Colors Saint-Martin-de-Candes In architecture, a console (say CAHN-sohl) is a When the Gallery acquired this console in 1949, This carved limestone console came from the wall support for a beam, statue, or other structure, it had a layer of whitewash which was removed Church of Saint-Martin-de-Candes, along the often decoratively carved. bit by bit with tiny brushes. The vibrant colors Loire River in southwest France. underneath proved to be very old restorations, Image = Console diagram but similar to the painted carvings still in place in The console was one of a series of four that the same French church. supported the arched roof of the sacristy, a special storage and dressing room to the side of the Image = Angel console, still in place in Saint- church’s east end. Many carvings were removed in Martin-de-Candes 1883, during an extensive restoration. A replica now takes the place of the original "Doubting Info came straight from object files, Thomas" in the Saint-Martin-de-Candes’ sacristy.

via Kerry S! Image = interior of Saint-Martin-de-Candes

MAG App Object scripts: Medieval Europe 11/22/11 5

Crucifixion with God the Father Giovanni del Biondo (Italian, active 1356 - 1399 ), ca. 1375 - 1380 Marion Stratton Gould Fund, 51.26 The scene of Jesus’ death by crucifixion is one of Devotional Details hot spots the most powerful images in Christian art. A By incorporating a few key figures and symbols, the artist turns an episode from the New Testament into a highly decorative Gothic architectural mount – powerful devotional image. twisted columns, a scalloped arch, and tall pointed • This inscription, a later addition to the panel, reads in Latin ECCE HIC EST CRISTUS IESU REX “roof” – and a flat gold background frame the JUDEORUM SERVATOR MUNDI SALUS NOSTRA O [Behold this is Jesus Christ king of the figures of God in Heaven, Jesus on the cross, and Jews, Savior of the world, our Salvation]. his mourners. • Jesus died by crucifixion, or death on a cross, a Roman form of criminal execution. This depiction of the Crucifixion is not intended • St. John, often known as the Beloved Disciple in Crucifixion scenes, was the only one of Jesus’ twelve as a narrative, or story-telling, painting, but Apostles present at his death. incorporates symbolism and symmetry to create • St. Mary Magdalene, one of Jesus’ female followers, is distinguished in art by her long, flowing hair. an image suitable as the focus of private prayer. • The mourning Virgin Mary, Jesus’ mother, is draped in deep blueish-black. • Three angels fly to catch the blood flowing from Jesus’ wounds in small chalices, a reference to Jesus’ blood as the wine of forgiveness. • God the Father observes the scene from above; He holds an open book and gives the sign of blessing. • According to the Gospels, a sign reading INRI was attached to Jesus’ cross at his death. It is a Latin abbreviation for the phrase IESVS NAZARENVS REX IVDAEORVM [Jesus of Nazareth, King of the Jews]. • A knight’s shield, with the symbol of the Cross above a red and white pattern. • A knight’s shield, with an unidentified symbol. ABOUT THE ARTIST How was this painting made? Giovanni del Biondo Tempera technique Biondo specialized in religious-themed works, In this complicated ancient painting method, a wood panel is covered in fine linen, and then covered with many of which have survived, but only two of layers of gesso (say JESS-oh), a thin plaster mixed with glue. When dry, the gesso surface is sanded them bear his signature. His distinctive style smooth. allows experts to be certain of the many paintings Next, the artist lightly scratches the outlines of the image onto the gesso, then applies a layer of red clay that have been credited to him, including this called bole to support the gilding, which is applied in extremely thin sheets. panel. Colors come in a mixture called egg tempera, a paint made of powdered minerals, egg yolk, and water. Biondo lived and worked in Florence, Italy from Because it dries quickly, egg tempera colors have to be made in small batches and painted quickly in thin 1356, when he was granted citizenship, until his layers. death in 1399.

MAG App Object scripts: Medieval Europe 11/22/11 6

Madonna and Child with Saints Francis of Assisi, John the Baptist, Peter and Dominic School of Nardo di Cione (Italian, active 1343 – 1365/66) Marion Stratton Gould Fund, 57.4 The infant Jesus and his mother, the Virgin Mary, Left Side Saints hot-spots (Center) Madonna and Child hot-spots commonly appear together in a devotional, often The figures in this painted altarpiece are named by The figures in this painted altarpiece are named by sentimental image known as the Madonna and inscriptions on the frame below their images. inscriptions on the frame below their images. Child. In this version of that image, they appear as However, it is their attributes (objects they wear However, it is their attributes (objects they wear or if gazing out from an arched window. On each side or carry) that make their names immediately carry) that make their names immediately apparent to of them, two more archways frame the images of apparent to Christians familiar with their stories. Christians familiar with their stories. four important Christian saints. Together the five • St. Francis of Assisi (1181/82 - 1226) wears the • The Virgin Mary, mother of Jesus, is often called archways form an altarpiece, a work of art placed gray robes of the Franciscan order of monks that the Madonna. above and behind an altar, the table or cabinet that he founded. • Jesus appears as a solemn but chubby-cheeked serves as the focus of Christian religious ritual. • His right hand pulls his robe aside to show the infant; the gold halo with crosses surrounding his stigmata (say stig-MAH-tah), marks that recall head demonstrates his divine nature. the wounds Jesus received at his death. • The scroll reads EGO SUM, the beginning of the • St. John the Baptist (c. 6 BCE - ca. 36 CE) Latin phrase EGO SUM LUX MUNDI, or “I am appears disheveled and dressed in an animal the light of the world.” skin, referring to his life in the wilderness. • The gold background contains punchwork, tiny • He preached about the Messiah, the expected stamped patterns produced by tools called punches. savior of the Jewish people. His banner reads Different artists’ workshops used distinctive Ecce agnus dei, or “Behold the Lamb of God,” a punches, so experts can sometimes use punchwork reference to Jesus. to identify the artist of an unsigned artwork.

MAG App Object scripts: Medieval Europe 11/22/11 7

Right Side Saints hot-spots ABOUT THE ARTIST The figures in this painted altarpiece are named by School of Nardo di Cione inscriptions on the frame below their images. The artist did not sign his finished work. In order However, it is their attributes (objects they wear to identify the artist, scholars closely examined or carry) that make their names immediately this painting, looking for similar details in other apparent to Christians familiar with their stories. paintings. • St. Peter (died ca. 64 - 68 CE) was leader of Jesus’ followers, and became head of the Based on their findings, experts attribute this Christian church after Jesus’ death. painting to the School of Nardo di Cione (say • His giant key recalls Jesus' words to Peter; "I will NAR-doh dee CHOH- nay). This means that the give to you the keys of the kingdom of heaven.” painting may be the work of Nardo himself in • The book refers to his two letters included in the combination with students or assistants, or the New Testament. work of another artist who studied or copied • St. Dominic (1170 - 1221) founded the black- Nardo’s painting style. robed Dominican Order of preacher- monks, and led a life of self-denial and service to others. Nardo di Cione was a painter, sculptor and • He holds a stalk of lilies, symbol of chastity. architect active during the mid 1300s in Florence, • As a sign of humility, he holds the Bible with his Italy. His three brothers were also successful robe covering his left hand. artists. Nardo and his elder brother Andrea collaborated on several projects, and shared a workshop in Florence.

MAG App Object scripts: Northern Renaissance Art 11/22/11 1

Northern Renaissance Art

During the period from about 1400 to 1600 in northern Europe, especially Germany, France, and the Low Countries (modern Netherlands and Belgium), the arts incorporated influences brought north from Italy, yet retained features unique to Northern arts.

St. Margaret with a Donor Vrancke van der Stockt (Flemish, before 1420 - 1495), 1424 - 1495 Marion Stratton Gould Fund, 44.15 This scene on this small, narrow painting is set Donors and Devotions hot-spots inside a typical late Medieval, upper class home. This section of painted panel is known as a donor portrait. The donor, the person or family who At front, a well-dressed woman kneels on a tile ordered and paid for the painting, earned the right to appear in the scene, as if part of the event. Two floor, her hands folded in prayer. In front of her, an additional matching panels, now detached, formed a small foldable painting that likely served as the open prayer book rests on a small wooden bench. focus of private prayers at the donor’s home. Behind her appears an image of Saint Margaret, • A dragon, subdued and led by a chain, is one of St. Margaret’s common attributes, or identifying the woman’s protective patron saint, identified by symbols. the chained dragon at her feet. • This kneeling woman may represent the donor, or perhaps the wife of the donor. A man, possibly her husband, appears in a matching panel in another museum. • Windows like these would have been common in wealthy Flemish or Dutch medieval homes. Including familiar domestic details in religious scenes was typical in paintings of this time. What other home furnishings do you see? • Ownership of a book, and the ability to read it, were signs of great wealth and privilege in Medieval Europe. • St. Margaret carries a golden staff, topped with a cross. It symbolizes her martyrdom, her death because she refused to deny her faith. • St. Margaret appears as the woman's patron saint, a spiritual helper and protector. She floats behind the woman and extends her hand, perhaps in the act of "introducing" the woman to the holy figures in the missing central panel. MAG App Object scripts: Northern Renaissance Art 11/22/11 2

Who was St. Margaret? About the Artist: Part One of Three Image = reconstructed Saint Margaret was the daughter of a pagan priest Vrancke van der Stockt triptych in the Roman city of Antioch. When she became This small, narrow, painted panel once formed the a Christian and refused an offer of marriage by a Vrancke van der Stockt lived and worked in right side of a three-part folding altarpiece known Roman official, her family disowned her. She was Brussels, now in modern Belgium. He became the as a triptych (say TRIP-tik). Only one of the arrested and thrown in prison, where the devil city's official painter in 1464, succeeding his other two panels has been identified. appeared in the form of a dragon. He swallowed friend and possible collaborator, the great Flemish Hold this unit up to the left of the painting to see her, but she burst out of its stomach by making the painter Rogier van der Weyden (ca. 1399/1400 - what it might have looked like as part of a whole. sign of the Cross. Before she was finally 1464) in that position. beheaded, Margaret prayed to God that expectant Left: mothers would look to her as their particular Van der Stockt was also active in town politics, St. John the Baptist accompanies a wealthy older man, likely the woman’s husband, in a mirror- patron saint; the safe birth of their babies would holding several administrative positions including image panel. recall her miraculous escape from the dragon’s town councilor. He and his wife, Catherine de Moeyen, had five children, two of whom also belly. became painters. Kneeling Donor with St. John the Baptist Vrancke van der Stockt (Netherlandish, before Image = detail of St. Margaret 1420 - 1495), ca. 1470 R. T. Miller, Jr. Fund, 1942 Allen Memorial Art Museum at Oberlin College, 1942.128

Right: The central panel, still unidentified, may have resembled this "Virgin and Child" panel.

Madonna with Child and Four Angels Dirk Bouts (Netherlandish, ca. 1415 - 1475), ca. 1469 Granada, Spain; Capilla Real

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St. Elizabeth with Jug of Wine and Loaf of Bread German, ca. 1500 Bequest of Elizabeth Stebbins in memory of her mother, Elizabeth Sibley, 57.7 This carved wooden image represents Saint Elizabeth Who was St. Elizabeth? (1207 -1231), a daughter of the king and queen of At age 14, St. Elizabeth married Ludwig, heir to Hungary. Saint Elizabeth is revered for her great acts the throne of Thuringia, in central Germany. of charity. She used her wealth and position to Ludwig died on crusade to the Holy Land in distribute funds to the poor, build hospitals, and care 1227, leaving her a 20-year-old widow with 3 for the sick. This statue represents her dressed in the children. Elizabeth gave her wealth to the poor, fine clothing of a medieval princess, carrying a loaf and cared for the sick in her own hospital. She of bread and a jug of wine, symbols of charity. died aged 24 in 1231.

Image = alt view Adoration of the Magi, ca. 1515 Master of the Holy Blood (Flemish, active early 1500s), ca. 1515 Marion Stratton Gould Fund, 80.43 This painting illustrates the visit of the three wise Who were the Magi? Read the Story: men, or Magi (say MAY-jy), to the infant Jesus, as The word magi means “priests” in the Adoration of the Magi described in the New Testament Gospel of Zoroastrian (say ZOR-oh-AST-ree-ehn) sacred from the Gospel of Matthew Matthew. At front, Jesus sits on the lap of his language. Following the birth of Jesus, a group of eastern wise mother, the Virgin Mary. Her husband Joseph men, sometimes called Magi, spotted a new star in the It is the source of our word magic. watches protectively from the right. At left, three sky. They recognized it as signaling the birth of the richly dressed men approach the family group, One of the world's oldest monotheistic (single- Messiah (say meh-SY-ah), the long-anticipated savior carrying a variety of costly gifts. The entire scene god) religions, Zoroastrianism was founded in king promised to the Jewish people. The magi traveled appears to take place in an architectural setting, ancient Iran 3,500 years ago. The magi tracked from the east to worship this new king, following the with arched doorways and squared pillars framing the movements of stars and planets to make star and found the baby Jesus. They bowed down the two groups of people. predictions and follow prophecies. before Him and worshiped Him, presenting kingly gifts of gold, frankincense, and myrrh. Image = detail of Magi The traditional belief in three Magi, to correspond with the three gifts, began in the Medieval period. MAG App Object scripts: Northern Renaissance Art 11/22/11 4

An Adored Subject hot-spots ABOUT THE ARTIST In northern Europe, popular demand for paintings of the Magi kept generations of artists busy. The Master of the Holy Blood scene also allowed artists to demonstrate their skill and creativity in picturing a wide range of ages, [also known as Maitre du Sant Sang] ethnic types, material textures, and setting details. The artist did not sign his finished work. In order to • The youngest of the Magi, usually called Balthazar (say BALL-theh-zar), often appears with Asian identify the artist, scholars closely examined this or Arabian features. painting, looking for similar details in other paintings. • One of the Magi is usually a dark-skinned African, often wearing a purple cloak. He is named Gaspar. Based on their findings, experts attribute this painting • The oldest of the Magi, with white beard and hair, is called Melchior (say MEHL-kee-or). He is to a Flemish artist they call the Master of the Holy shown as a White European. Blood. The name comes from a well-known triptych (say TRIP-tik), or three-panel painting, made by this • Gold is a symbol of wealth and kingship in many cultures. same artist for the Brotherhood of the Holy Blood in • Frankincense (say FRANK-in-sens), burned to create a perfumed smoke, is said to be symbolic of Bruges (now in modern Belgium). priesthood. • Myrrh (say MUR), a pleasant smelling, resinous oil used in funerary rites, symbolizes death. • In contrast to the richly trimmed, gold-threaded fabrics of the Magi, Mary's husband Joseph wears a

long sleeved tunic of rustic brown. He clutches his hat to his chest in a respectful gesture.

• The Virgin Mary wears a draped red-orange cloak, a departure from her usual blue. • The story of the Magi's visit often takes place in the stable where Jesus was born. However, this artist sets the episode beneath the decoratively carved pillars of an elegant house.

Image = detail of Magi

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St. James French, late 1400s Marie Adelaide Devine Fund and Thomas H. and Marion Hawks Fund, 94.49 The base of this colorful limestone statue of a seated Who was St. James? Santiago de Compostela man bears the title “S. Iaque,” medieval French for Saint James was one of Jesus’ Apostles, or first The word Santiago comes from Sant Iago, Saint “Saint James.” He holds a stout staff, wears a long 12 followers. James’ name in medieval Spanish. cloak and broad brimmed hat, and carries a shoulder bag called a scrip. These are the garments of Following Jesus’ death, the Apostles traveled to The cathedral of Santiago de Compostela (say medieval Christian pilgrims, who traveled to often spread the Christian faith to other parts of the SAHN-tee-AH-goh deh KOM-poh-STEH-lah) was distant churches or holy sites to honor various saints, world. James went as far as Spain before founded at the site in northern Spain where St. pray for forgiveness, or beg favor. His hat and bag returning to Jerusalem. His preaching there James is traditionally believed to be buried. For are both adorned with a scallop shell, the symbol angered the king, and he was tried and executed. many Christians, Compostela is considered the worn by those pilgrims who had made the journey to James' own followers took his body back to the third most holy city in Roman Catholicism, after Saint James’ own church at Compostela in northern northern coast of Spain, burying it at the site Rome and Jerusalem. It is still a major pilgrim Spain. where the church of Santiago de Compostela destination today, attracting hundreds of thousands (say SAHN-tee-AH-goh deh KOM-poh-STEH- of visitors who come to honor Saint James. lah) now stands. Image = Compostela plaza view

Marriage Chest (Minnekästchen) German, late 1400s Marie Adelaide Devine Fund, 2008.2 This small, lidded wooden box is known in German Saving for the Future as a Minnekäastchen (say min-eh-KAS-chehn), or The marriage chest recalls the tradition of the “miniature casket.” In northern Europe, this type of hope chest, gradually stocked with linens and small decorative chest might be presented to a lady other household goods before a girl’s “hoped- as a declaration of love and admiration. These were for” marriage. This tradition in turn relates to the often decorated with romantic symbols, scenes of old custom of the dowry, the marriage price paid courtly love, or religious and allegorical figures. The to the husband and his family. chest was probably used by a lady for storage of small items like jewelry and toiletries.

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Explore the Marriage Chest The Lid: Griffins hot-spots The Front: Lions The Right Side: Bactrian Camels The lid of this chest features several animals and Two lions guard the locking latch on the front of The two-humped Bactrian camel is a large, objects with important symbolic meaning. The the chest. Long honored and feared as the "king powerful beast of burden. It symbolized mildness combination of symbols may indicate this casket’s of the beasts," lions also came to have mythical and humility, because in order for its back to be role in a wedding or family union. traits that associated them with Christian beliefs. loaded with goods, it must kneel. These camels • This loop of cloth appears to form an initial letter, both wear collars of restraint, perhaps a reference perhaps an "O." It could represent the newly to the camel's association with prudence and married couple’s family name, or the bride-to-be’s caution. first name. • A crown supported by two crossed gloves, or gauntlets, echoes the two crowns worn by the The Back: Unicorns The Left Side: Monkeys winged creatures on either side. The legendary unicorn is a horse with a single Two monkeys, comfortably seated on cushions • Two griffins, fantastic mythical creatures with horn on its head. They are shy creatures which beside a tree, feast on fruits. Monkeys often eagles' heads and wings on lions' bodies, face each cannot be captured by chase, but lured by a symbolized the devil, or the evils of human nature. other. Their pose recalls heraldry patterns, where virgin and caught by surprise. These unicorns However, their similarity to the human form also animals or figures significant to the family stand on appear to have been caught; they wear collars made monkeys an image of comic relief. either side of a shield with the family design. attached by chains to tree trunks behind them. • At the front, two rabbits emerge from their underground burrows. Rabbits are an ancient and powerful symbol of fertility, making them very appropriate symbols for a marriage. • Between the griffins lies a small unicorn, a mythical horse with a single horn on its head. The unicorn was symbolic of purity and grace.

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Madonna and Child Enthroned with Angels Master of the St. Ursula Legend (Flemish, active 1470 - 1495), before 1483 Marion Stratton Gould Fund, 48.11 The infant Jesus and his mother, the Virgin Mary, Treated Like Royalty hot spots commonly appear together in a devotional, often Many of the details included in this devotional image have symbolic significance. sentimental image known as the Madonna and • The two column tops form a scene from the book of Genesis. At right, Adam and Eve cower beneath the Child. In this version of that image, the pair sits in forbidden Tree of the Knowledge of Good and Evil. royal dignity on an elegant marble throne topped • The two column tops form a scene from the book of Genesis. At left, an angel wielding a sword arrives with a tapestry canopy embroidered in gold. They to drive Adam and Eve out of the Garden of Eden. are attended by two youthful, winged angels • The baby Jesus holds an apple, referring to the belief that Mary and Jesus are the “new” Adam and Eve, dressed in white robes. promising to save humanity from sin. • One angel supports a book for Mary in an unusual image emphasizing her wisdom. • One angel leans over the arm of the throne, holding out a flower for the baby Jesus to see. About the Artist • In an artistic technique known as simultaneous narrative, two different events in Jesus’ life appear in “Master of the St. Ursula Legend” the windows. Here the expectant Virgin Mary visits her cousin Elizabeth, who will give birth to John the The artist did not sign his finished work. In order Baptist. to identify the artist, scholars closely examined • In an artistic technique known as simultaneous narrative, two different events in Jesus’ life appear in this painting, looking for similar details in other the windows. Here the adult John the Baptist baptizes the adult Jesus in the river. paintings. • The view out the windows depicts the skyline of Bruges, then a prominent Flemish city. The Church of

Notre Dame helps to date this painting to before 1483, the year its new octagonal bell tower was Based on their findings, experts attribute this constructed. painting to a Flemish artist they call the Master of the St. Ursula Legend. The name comes from a series of paintings showing the story of St. Ursula, made by this same artist for the convent of the Black Sisters in Bruges, modern Belgium.

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Partial Armor made for the Dukes of Brunswick-Wolfenbüttel German, made in the Brunswick Armory, 1560s The Maurice and Maxine B. Forman Fund, the Clara and Edwin Strasenburgh Fund, the Marie Adelaide Devine Fund and the June Alexander Memorial Fund 2006.57 This armor is a composite, formed of separate A Well-dressed Knight hot-spots pieces that have been put together to form a partial, A harness, or suit of armor, generally included several different mix-and-match components, known as or not quite complete, suit. It is plate armor, garniture. The parts could be exchanged and combined as needed for specific situations or events. This fashioned from cut and fitted sheets, or plates, of "Partial Armor" is missing the components for arms, hands, lower legs, and feet. steel. The engraved decoration was inspired by • Close Helmet: a heavy battle helmet which completely covers the head, with a hinged visor to protect prints made by artists of the time. the face. • Gorġet: (say GOR-jet) a collar to protect neck and throat. This gorġet is not a separate piece, but is The armor once belonged to the Dukes of attached to the helmet. Brunswick, in central Germany. The Brunswick • Pauldron: (say PAWL-drawn) protection for the upper arm and shoulder, attached to the Almain armory workshop included highly specialized collar beneath. Created from a set of overlapping plates called lames (say lah-MEHZ). metalworkers who created armors and associated • Breastplate: part of the cuirass (say KWEER-ahs) that covers the front of the chest and torso and pieces for a variety of purposes. This Partial Armor attaches to the backplate with hinges or straps and buckles. comes from a series dated to the 1560s, the best of which carry the distinctive “Daniel in the Lion’s • Backplate: part of the cuirass (say KWEER-ahs) that covers the back and attaches to the breastplate Den” badge on the left side of the breastplate. with hinges or straps and buckles • Tasset: lower-torso covering from the waist down; here the tasset is incorporated into the cuirass (say KWEER-ahs) • Cuisse: (say KWEEZ) thigh covers created from a set of overlapping plates called lames (say lah- MEHZ).

[All Zoom views] THE LEFT SIDE THE BACK THE RIGHT SIDE View from the left side View from the back View from the right side The Brunswick Armor, as seen from the left side. The Brunswick Armor, as seen from the back. The Brunswick Armor, as seen from the right side.

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The Dukes of Brunswick The Close Helmet hot-spots The date of 1562 on the breastplate badge of this The matching decoration on helmet and body armor proves that the components are from a related set. armor associates it with Duke Henry V, who ruled However, this close helmet was designed for heavy field use in battle, while the body armor is lighter in the duchy from 1514 to 1568 as part of the Holy weight, more for show than protection. Roman Empire. • Skull, or Crown: the part of the helmet that fits on and encloses the head. • Medial comb: arches across from front to back to offer extra protection for the top of the head as well Image = Painting of Duke Henry V as space for decoration. • Plume holder: small tube-like attachment for holding tall, colorful feathery ornaments that added decorative effect and helped identify the wearer. • Visor: hinged face cover, which swivels up when not required for protection. • Vision slits: slots cut into the upper visor to allow the wearer to see. • Bevor: (say BEH-vor) lower part of visor; in this example pointed like the prow of a ship and pierced on both sides with air holes arranged in a triangular pattern. • Gorġet: (say GORE-jet) a hinged, two-piece armor that protects the neck, throat and upper chest; in this case, attached as a collar to the helmet. • Almain collar: a neck-and-shoulders cover, often hidden by other upper body armor pieces. Explore the Decoration Explore the Decoration Examine the Medallion (zoom view) Daniel in the Lion's Den hot-spots This engraved medallion appeared on the breastplate Daniel, a Jew, served as an official in the court of the Persian King Darius. His success inspired jealousy of several of the older armors made in the in his fellow officials, who tricked the king into passing a law that made the worship of gods other than Brunswick Armory. It served as a type of family the Persians’ punishable by death. They then arranged for Daniel to be caught worshipping his God. The king had no choice but to follow his own law, and had Daniel thrown into a den of hungry lions. crest for the Dukes of Brunswick. The image • Although he had been tricked, the Persian King Darius had no choice but to enforce his own laws, and illustrates a scene from the story of Daniel, whose condemn Daniel to death. faith in God saved him from certain death. • The normally ferocious lions appear untroubled by Daniel's presence.

Daniel in the Lion's Den • Daniel's faith in God saved him from certain death in the den of lions. (from the Old Testament Book of Daniel 6:1-28) • Being torn to pieces by hungry, vicious lions was a terrible way to punish criminals. • The date of 1562 indicates the year that the craftsmen in the Duke of Brunswick's armory fashioned this breastplate. • This part of the motto reads, in German, MEIN LEVEN VND ENDE STE IN GOT HEN --- "My life and destiny rest in God’s hands." • This part of the motto reads, in German, ACH GODT MEIN HER ICH BEITH BEWARE SELE LIB VND ERE --- Oh my Lord God I pray that you protect my soul, life and honor."

Caption: Daniel in the Lion's Den (from the Old Testament Book of Daniel 6:1-28) MAG App Object scripts: Northern Renaissance Art 11/22/11 10

Explore the Decoration Explore the Decoration The Breastplate hot-spots The Backplate hot-spots The breastplate features etched and engraved scenes from classical mythology The backplate features etched and engraved scenes from classical mythology and the Old Testament of the Bible, interspersed with floral decoration and and the Old Testament of the Bible, interspersed with floral decoration and allegorical figures. allegorical figures. • Figures inspired by the classical art of Greece and Rome dance and pose in • Figures inspired by the classical art of Greece and Rome dance and pose in decorative leafy settings. decorative leafy settings. • Two figures inspired by the classical art of Greece and Rome, in long draped • A 3/ 4 -length figure dressed in ancient Roman-style armor may have been garments. inspired by classical art. • A satyr is a mythical half-man half-goat forest deity from Greek mythology. • The decorative border of hares chased by hounds appears on many of the • Abraham and Sacrifice of Isaac (from Genesis 22:1-14) pieces of armor. God tested the faith of Abraham by requiring him to sacrifice Isaac, his • Two long-necked birds face each other. beloved son, on the altar. At the last moment, God sent an angel to stop • Creation of Eve (from Genesis 2) Abraham’s hand, his faith proven. • God created Adam and Eve, the first man and woman. Adam was made • Daniel in the Lion’s Den (from Daniel 6:1-28) from the clay of the earth, Eve from Adam's own rib. Daniel’s strong faith in God saved him from certain death. • Temptation in the Garden (from Genesis 3) • Cain and Abel (from Genesis 4:1-16) A serpent tricked Eve into eating fruit from the forbidden “Tree of the The sons of Adam and Eve, Cain was a farmer and his brother Abel was a Knowledge of Good and Evil.” She then shared the fruit with Adam. As shepherd. When Abel's sacrifice to God was received with greater favor, Cain punishment, God sent an angel to drive them out of the Garden of Eden. killed Abel in a jealous rage and was forced to wander the earth in • Samson and the Lion (from Judges 13-15) banishment. Samson used his incredible strength to kill a lion with the jawbone of a wild • Joab and Amasa (from II Samuel 20) donkey. The jawbone he used sits at the lower right. Joab was a nephew of King David and a general in his army. Pretending to greet his cousin and rival Amasa, Joab stabbed and killed him. The inscription reads “Joab kisses Amasa.” Explore the Decoration The Almain Collar The name “Almain collar” comes from the French word for "German." This may reflect a belief at the time that the collar was invented by German armorers. Although mainly hidden behind other armor pieces, this collar still features extensive decoration.

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Wedding Cutlery Set French, 1560s The Maurice and Maxine B. Forman Fund, the Clara and Edwin Strasenburgh Fund, the Marie Adelaide Devine Fund and the June Alexander Memorial Fund 2006.57